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The Swan Theatre 



SHAKESPEARE'S 

THE MERCHANT 

OF VENICE 



EDITED BY 
CMALPH TAYLOR, A.B. 

FORMERLY JUNIOR MASTER, 
GIRLS' HIGH SCHOOL, BOSTON 



F. M. AMBROSE AND COMPANY 

NEW YORK AND BOSTON 

1920 



4$ 



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Copyright, 1920 r 

BY 

F. M. AMBROSE & CO 



APR - 1 1920 



©CU565439 



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CONTENTS 

£5 PAGE 

Introduction . . 7 

The Life of Shakespeare 7 

Shakespeare's Plays: Chronological Arrangement . 8 

The Theatre in Shakespeare's Time .... 10 

How to Understand a Play 12 

The Date, and the Sources of the Plot . . . .15 

The Metre 16 

Metre in General 16 

The Metre of The Merchant of Venice ... 17 

Backgrounds of the Play . . .... 19 

The Attitude toward the Jews 19 

The Italian Setting 20 

Ideas of Medicine 21 

The Laws Regarding Interest 22 

The Italian Duke 23 

Masques 23 

Analysis of the Plots 25 

Comments on the Characters 26 

The Different Interpretations of Shylock' s Character. 26 

Portia . . .27 

Antonio . . . ... _ 31 

Bassanio ......... 32 

Jessica . 32 

Gratiano 33 

Nerissa 34 

Stage Costumes 34 

3 



4 CONTENTS 

PAGE 

Dramatis Personae 38 

The Text . 39 

Act I 30 

Act II 57 

Act III . 83 

Act IV 107 

ActV 126 

Notes on the Text . ...... 137 

A Study of the Play 167 

Index .187 



ILLUSTRATIONS 

The Swan Theatre Frontispiece 

LANCELOT AND GoBBO . 60 

Shylock at Home 70 

Bassanio's Choice . 92 

"I'll Have My Bond" 100 



PREFACE 

The edition aims to present the interesting backgrounds of the 
play, to interpret the text through annotations, and to supply 
the student with such suggestive questions as will stimulate 
thoughtful study and encourage mental reaction. 

With these aims in mind, the editor has first shown how to 
understand a play, how to analyze the plots of this particular 
drama, and what there is of interest in the backgrounds of the 
play, — i.e. how the social life of the times' is reflected in it. In 
interpreting the text, such notes are given as will afford a clear 
understanding of the context without presenting an exhaustive 
etymological disquisition. Finally, to stimulate profitable study 
and mental reaction, there has been added a series of lessons, 
with leading questions and suggested memory work. These 
are intended to give defmiteness to the individual or class study 
and to provoke further discussion rather than to supplant the 
teacher's and student's questions. 

In general, the text of the Globe Edition has been followed. 
However, in some instances the punctuation has been altered; 
and where the editor has felt that the weight of authority justi- 
fied it, he has changed the wording of the text. Where the 
omission of lines has come under consideration, it has been 
deemed wiser to omit these passages rather than offer a lame 
substitute. 



INTRODUCTION 

THE LIFE OF SHAKESPEARE 

William Shakespeare was born at Stratford-upon-Avon, in 
April, 1564. The official record in the Parish Church of Stratford 
has this baptism entry, for the year 1564: April 26th Gulielmus, 
filius, Johannes Shakespeare. Since it was the custom to have 
children baptized on the third day after birth, it would seem that 
the date to be accepted as the poet's birthday is April 23. 

John Shakespeare, his father, lived in Henley Street. He was 
a glover and dealer in wool and other country produce. His 
mother, Mary Arden, came from an old Warwickshire family. 
William was the third child, and after his birth five other children 
were born. 

The family lived in comfort when William was a child. His 
mother had possessed a considerable estate. His father, when 
the child was five years old, was elected to the office of High 
Bailiff, or Mayor. But this comfort was to last for but a short 
time. In 1578 the father became involved in debt and effected 
a mortgage of £10. upon his wife's estate. 

Very few facts are known about the boyhood of William. It 
is probable that he attended the Grammar School at Stratford. 
Ben Jonson speaks of the poet's having acquired a "little Latin 
and less Greek". From his writings we must conclude that he 
somewhere gained no inconsiderable classical education. He 
quoted from Virgil, Horace, Terence, and Seneca. One may see 
in the Museum at Stratford the desk that tradition says was 
occupied by the boy. 

In 1582 the boy of eighteen married Anne Hathaway, who was 
eight years his senior. She lived in the little village of Shot- 
tery, a mile away from Stratford. Her home is to-day in the 
hands of descendants and is a shrine for many pilgrims. The 
long, two-storied house is approached by a paved path, bordered 
by flower beds. The latticed windows peep from beneath the 
overhanging thatch roof. Their first child, Susanna, was born 
in 1583, and the twins Judith and Hamnet in 1585. 



8 THE MERCHANT OF VENICE 

There are several traditions regarding youthful escapades 
of -Shakespeare, but little reliability can be placed upon their 
truth. Sir Thomas Lucy is said to have had him whipped on 
account of the boy's stealing of venison and rabbits from his 
private park. 

It would seem that the year after his marriage Shakespeare 
went to London, where he became an actor. Beginning in a 
very humble capacity, he worked his way upward. At once he 
began the writing of plays. It is agreed that his first play was 
Love's Labour Lost, which appeared about 1591. He was then 
twenty-seven. For nineteen years (1591-1610) he continued 
the writing of plays, the last being The Tempest. 

That he was a good actor seems beyond doubt. An old stage 
tradition speaks of him as the original Mercutio in Romeo and 
Juliet. He became prosperous and was highly honored in Lon- 
don. This enabled him to help his father in a court action and 
also to recover some of the property that had formerly belonged 
to his mother, but which had become heavily mortgaged. 

The poet spent his last days, after 1612, in his old home vil- 
lage of. Stratford. Here he had left his family when he went 
away to the city. He purchased New Place, one of the largest 
houses in the town. Although he paid several visits to the 
city, he spent most of the time quietly at home. 

Shakespeare died on April 23, 1616 and was buried in the 
Stratford church. His wife and two daughters, Susanna and 
Judith, were living at the time of his death. 



SHAKESPEARE'S PLAYS 

A Chronological Arrangement 
1590-1611 

Comedies Histories Tragedies 

Love's Labour Lost 
Comedy of Errors 1 Henry VI 
2 Henry VI 
Two Gentlemen of Richard III Romeo and Juliet 

Verona 3 Henry VI 

King John Titus Andronicus 



INTRODUCTION 



II. 



Comedies 
A Midsummer 

Night's Dream 
All's Well that 

Ends Well 
Taming of the 

Shrew 

Merry Wives of 
Windsor 

Merchant of Ven- 
ice 

Much Ado About 
Nothing 

As You Like It 



Histories 
Richard II 



1 Henry IV 

2 Henry IV 



Henry V 



Tragedies 



III. Twelfth Night 

Troilus and Cres- 

sida 
Measure for Measure 



Pericles 



Julius Caesar 
Hamlet 



Othello 
Macbeth 
King Lear 
Timon of Athens 
Antony and Cleo- 
patra 



IV. 



Cymbeline 
Winter's Tale 
The Tempest 



Henry VIII 



Coriolanus 



I. Period of Apprenticeship. 1590-1593 Love Plays. 

II. Period of Attainment. 1594-1599 Comedies of love. 

III. Period of Gloom. 1600-1608 Gloomy tragedies. 

IV . Period of Quietude . 1 609-1 61 1 Plays of quiet life . 



10 THE MERCHANT OF VENICE 



THE THEATRE IN SHAKESPEARE'S TIME 

The early productions were given in the courtyards of inns. 
The balconies of these inns served well as galleries. Troupes 
of actors went from town to town, giving performances. 

But the strong feeling of the Puritans against theatrical enter- 
tainments resulted in a law which prevented any theatre being 
built within the precincts of the city of London. James Bur- 
bage, who had successfully organized one of these traveling 
troupes of actors, decided, in 1574, to build a theatre on the banks 
of the Thames, just outside the city limits. He had given per- 
formances at Stratford, and undoubtedly the boy Shake- 
speare had witnessed some. The spot selected by Burbage was 
the site of a former monastery of the "Black Brothers," and the 
name given to the new playhouse was Blackfriars Theatre. 
When Shakespeare came to London as a young man, it was 
probably at this theatre that he secured employment. Other 
theatres followed this: The Curtain, The Globe, The Fortune, 
The Swan, and The Rose. 

Burbage 's theatre was round in shape; some of these buildings 
had the shape of a polygon. Only the stage and the boxes were 
covered; the poor people were not protected from the weather. 
The floor, now the location of the orchestra seats, was at that 
time called the " pit ". It was occupied by the poor people, 
who paid a penny as their admission price. They sat on boxes 
or on the bare ground. Above them was the open sky. Shake- 
speare, in Hamlet, speaks of them as "groundlings". There 
were one or two balconies which ran around the walls, and 
over the stage was another balcony used by the wealthy people. 
It was also customary for those who paid the highest admission 
price (perhaps two shillings) to sit on the stage itself, and to 
feel free, at times, to promenade upon the stage. One of the 
balconies, near the stage, was used by the red-liveried members 
of the orchestra. 

The conduct of the "groundlings" was far from commendable. 
They ate food, played cards, drank freely, and kept up a noisy 
disturbance which at times became boisterous. At times they 
would jeer at the actors, and they were known to vent their 
feelings by throwing food at the players. 

Covered boxes near the stage were called the "lords' rooms". 



INTRODUCTION 11 

Either here or on the stage sat the wealthy people. The "ground- 
lings" often displayed their feeling toward them. 

The stage was a platform which extended well out into the 
"pit". Back of it was a two-storied structure, — the first floor 
serving as a dressing-room, and the second floor as a part of the 
stage setting and also as a box for lords and ladies of the audi- 
ence. Painted movable scenery was not known before 1600, 
and a change of scene was announced by a printed notice, — as, 
for example: Venice; A Forest. Black sky-hangings were used 
in tragedies and blue in comedies. Sometimes there was an 
inner stage setting, which would be revealed by the withdraw- 
ing of a curtain. It is doubtful, however, if there were any 
drop-curtain on the front of the stage. On account of this 
absence of a curtain, there was no such scene division as we are 
accustomed to have. You will find that the scene divisions 
are not to be seen in the early folios. This necessitated, at the 
end of a scene of tragedy the dragging off the stage of the bodies 
of the dead. There was a trap-door in the centre of the stage 
to be used when ghosts appeared. The floor was strewn with 
rushes, giving it the color of nature. The actors would bring 
on the stage the furniture needed, as chairs, tables, and trees. 
In a war scene a tent might be set up and given a label to indi- 
cate that it represented an encamped army. One device to 
indicate a change of location of a scene would be for one actor 
to invite another to walk with him to another town ; in this way 
the audience became aware that the scene had shifted. Then 
again, the audience were accustomed to tell by the door through 
which an actor entered whether a scene had changed its setting. 

The parts were all taken by men or boys with treble voices. 
Coarse as the plays were in Shakespeare's day, they lacked the 
greater coarseness of a later period when women began to take 
part in the performances of the degenerate nature of the Res- 
toration plays. Probably few women were to be found in the 
audience. The costumes of the actors were gorgeous. It was 
the custom for each actor to secure his own costumes, and no 
effort was made to suit a costume to a part. Julius Caesar 
might appear in a robe that the actor had hired or bought from 
an English lord. 

A weekly salary was paid the actors; the best actors, however, 
served as the managers of their own theatres. 



12 THE MERCHANT OF VENICE 

Performances took place every day, including Sunday. The 
hour of commencement was announced by the blowing of a 
trumpet from the roof of the theatre. Posters were used to 
advertise the play, but no programs were printed. This is 
important to remember, for we depend, to-day, upon the program 
to learn the setting and characters of the play. In reading a 
Shakespeare play it is a good plan to study to see if you can find 
out m what way an audience in Shakespeare's days might de- 
termine these two things. As a further announcement of the 
commencement of the play, a flag was raised on the roof of the 
building. The performances came in the afternoon of necessity, 
since there was no means of lighting the theatre; and they 
lasted from two to two and a half hours. 

When the play opened, there would first be a parade of all 
the actors on the stage. The prologue was then read by a per- 
son wearing a long black robe. Between the acts there were 
musical interludes, pantomimes, and the dancing of clowns. 
Although the Queen never went to the theatre, it was customary 
to have a prayer offered for her, during which all the actors knelt. 
Such plays as the Queen witnessed were given at the Castle. 
Shakespeare and his company frequently went to the Castle 
to present plays before Her Majesty. 

HOW TO UNDERSTAND A PLAY 

The technical study of a play is of secondary importance to 
the enjoyment of the play that is gained by each reader's perus- 
ing the story to gain his own impressions, regardless of technical 
laws. However, there are certain terms and rules of the game, 
as it were, that are valuable to the study of a play. 

1. Tragedy. — A tragedy is a serious play, dealing with seri- 
ous themes, especially with suffering. It must end unhappily 
to be a tragedy. For example, Macbeth deals with the murder 
of Duncan and the death of Macbeth and Lady Macbeth. 
Other tragedies also occur in the story. 

2. Comedy. — A comedy is a play that deals with the fol- 
lies and absurdities of life. It thus is in contrast to the tragedy, 
since it avoids the portrayal of suffering and ends happily. The 
under plot of a tragedy may introduce a comic situation. This, 
however, is not done as a major element in the play, but is put in 



INTRODUCTION 13 

to relieve the tension of the tragic situation or to make more 
impressive the succeeding tragic action. Some of Shake- 
speare's plays are of such a character as to seem to intermingle 
the tragic and comic. Measure for Measure, for example, which 
was written at a time when the poet was experiencing unhappi- 
ness in his own life, has considerable of the dark and painful 
element in it. 

Modern comedies are in most instances one of two kinds: 
(1) Farce, dealing with some absurdity of custom, (2) Burlesque, 
the ludicrous and exaggerated parody upon the more serious 
things of life. 

3. The Title.— The title of a play should be fitting. Gold- 
smith's She Stoops to Conquer is well named, for the plot centres 
about the stooping of Kate Hardcastle to the position of bar- 
maid, a position she assumes for the purpose of spying upon the 
actions of others, and as a result of which she conquers a lover. 
Is The Merchant of Venice well named? Is Antonio the central 
figure? What character do the great actors choose? 

4. The Unities. — The idea of the unities is traced to the writ- 
ings of Aristotle. It was claimed that there should be three 
unities in a drama: (1) of Place, (2) of Time, (3) of Action. 
The first unity requires that there shall be no extensive change 
of scene; the second unity requires that the entire action occur 
within 24 hours; and the third unity requires that all the inci- 
dents of the drama centre about a single plot. Aristotle in- 
sisted that only one of these unities is necessary, — that of action. 
Shakespeare also observed but this one. How far are the uni- 
ties observed in The Merchant of Venice? 

5. The Exposition. — By exposition is meant the necessary 
information regarding the actions of the characters prior to the 
time when the play opens, also the plans or intentions they have 
in mind. We must know this in order to follow the action of 
the play. In the plays of Shakespeare the Prologue served 
this purpose in part. In the prologue we learri what has pre- 
ceded the action at the beginning of the first scene. In other 
plays we learn these facts from the speeches in the first act. 
Sometimes one character talks to another and tells him incidents 
that he already knows, but which the audience need to know. 
Thus Bassanio tells Antonio of his needs of money and of his 
plan to win it. This comes in the first act. 



14 THE MERCHANT OF VENICE 

6. The Struggle. — The basis of the plot of a drama lies in the 
fact that there are two opposing forces or desires that come in 
conflict. One character has a desire for something, but there 
are obstacles that come in the way to prevent the fulfilment of 
this desire. This obstacle may be something within him, 
something without him, or the opposing will of another charac- 
ter. Without this struggle the drama would be lifeless and unin- 
teresting. We enjoy watching this struggle and we become inter- 
ested to see how it is coming out. In a tragedy, the battle is 
lost; in a comedy there are none the less obstacles, but they are 
not of the tragic kind. 

7. Climax. — Not only the play as a whole, but each act 
should have a climax. In a plot there are different incidents, 
all leadmg up to one of greatest importance, which is called the 
climax. It is this arrangement of the incidents that gives the 
play its compelling interest. 

8. The Denouement. — The climax is the high water mark 
of the plot. Following this there may be a few incidents that 
serve to unravel the tangle into which the action has come. 
This letting down of the action is called the denouement. 
Shakespeare is careful not to have the action stop abruptly at 
the climax; he follows it by a bit of action or speaking that 
softens the sharp tone of the climax. Otherwise we should be 
stirred to deep emotion and left there with nothing to quiet the 
feeling. It is interesting to observe the invariable use he makes 
of this device. 

9. The Mystery. — In a novel we are kept until the end to 
learn the solution of the mystery. The suspense is sustained 
until a final climax is reached. This cannot be done in a play. 
Very early we learn what is likely to be the fate of the charac- 
ters. Our pleasure comes in observing the way in which the 
characters, who do not know what we of the audience do know, 
struggle and are in perplexity over the situations in which they 
are placed. 

10. Character Portrayal. — To live permanently, a play must 
have strong character portrayal. We get great enjoyment from 
the plot, especially if it has a good deal of movement; but in 
the last analysis, it is the living, vital, natural characterizations 
that make the play one of lasting importance. It is this that 
makes the dramas of Shakespeare so great and permanent. In 



INTRODUCTION 15 

a play like The Merchant of Venice there are several most im- 
probable situations as far as the action goes. The choosing of 
the caskets and the legal phases of the court scene present many 
improbabilities, but these are of secondary importance in the 
face of the wonderful portrayal of Shylock's character. It is 
this character portrayal that forms the basis of our deepest 
study. Shakespeare wrote of types of life that people of his day 
would know and appreciate, but he had the genius as did none 
of his contemporaries to so weave his picture of the characters 
that they seem to belong to any age. 

THE DATE AND THE SOURCES OF THE PLOT 

1 . The Date. — The Merchant of Venice was probably written in 
1598, as witnessed by the appearance of the name of the play on 
a list of plays which appeared that year, and as further evidenced 
by the entry on the Register of the Stationers' Company. It was 
published two years later, 1600, in two Quartos. The title of 
one of these Quartos reads: "The most excellent Historie of 
the Merchant of Venice. With the extreame crueltie of Shy- 
locke the Iewe towards the sayd Merchant, in cutting a iust 
pound of his flesh: and the'obtayning of Portia by the choyse of 
three chests. As it hath beene diners times acted by the Lord 
Chamberlaine his Seruants. Written by William Shakespeare At 
London, Printed by I. R., for Thomas Heyes, and are to be sold in 
Paules Church-yard, at the signe of the Greene Dragon. 1600." 

2. Sources of the Plot. — The probability is that the story 
of the play was patterned from a tale in II Perorone, a collec- 
tion of short stories by Giovanni Florentino, which had been 
published some forty years before the play appeared. This tale 
relates how a wealthy merchant befriends a young kinsman, who 
is seeking the hand of a rich lady in Belmont and who, in order 
to win her, must pass a certain test. The merchant engages 
with a wealthy Jew to secure the money needed by the kinsman, 
the bond becomes forfeit after the loss of the merchant's ships, 
and the death of the unfortunate merchant at the hands of the 
cruel Jew seems imminent. The lady assumes the garments of 
a lawyer, enters the court, and turns the scales in favor of the 
merchant in the same way as in the play. The incidents follow- 
ing closely resemble the story of the play. Shakespeare, how- 



16 THE MERCHANT OF VENICE 

ever, introduced the idea of the caskets into the original story. 
This may have come from a similar idea in one of the stories in 
the Gesta Jtomanorum, a Latin compilation of stories of the Middle 



THE METRE 
I. Metre in General 

Metre is the rhythmic arrangement of syllables in poetry. 
The rhythm depends upon the accent which comes at regular 
intervals, just as in music. 

Every line, or verse, of poetry is made up of groups of syllables, 
each group having an accented syllable and either one or two 
unaccented syllables. The group itself is called a foot. We 
may represent the accented syllable of the foot by a mark ( — ) 
and the unaccented syllable by another mark (^— ). The end 
of the foot may be indicated by what in music would be called 
a bar ( | ). Notice the markings of this familiar line: 
-~| — I - r \ -v-| 

Tell me not in mournful numbers 

A verse of one foot is called monometer; of two feet, dimeter; 
of three feet, trimeter; of four feet, tetrameter; of five feet, 
pentameter; of six feet, hexameter.* What would you call the 
line given above? 

The ancient Greeks gave us the names we use for the different 
kinds of feet as well as for the different kinds of metre. Thus, a 
trochaic foot is a foot having an accented and an unaccented 
syllable ( — *-" ) ; an iambic foot is one having an unaccented and 
an accented syllable (^ — ); a dactylic foot is one having an 
accented and two unaccented syllables ( — ^ ^ ) ; an anapaes- 
tic foot is one having two unaccented and an accented syllable 
(— ' w — ) ; and a spondaic foot is one having two accented syl- 
lables ( ). The first line of The Merchant of Venice is thus 

marked: 

|~- I- -I— I — I 

In sooth I know not why I am so sad; 

The line is called iambic pentameter, — each foot being iambic 
and the line having five feet. What would you call the line 
quoted before this? 

The standard line in Shakespeare's plays is iambic pentameter. 
It is called heroic verse. 



INTRODUCTION 17 

Blank verse is unrhymed verse. Most of Shakespeare's lines 
are unrhymed, although you will occasionally find near the end 
of a scene a few that are rhymed. For example, in The Merchant 
of Venice, notice the last lines of Act II, Scene 5: 

Shylock. Fast bind, fast find, — 
A proverb never stale in thrifty mind. 

Jessica. Farewell; and if my fortune be not crost, 
I have a father, you a daughter, lost. 

II. The Metre of the Merchant of Venice 

1. Use of Prose. — Abbott, in A Shakespearean Grammar, 
says: "Prose is not only used in comic scenes; it is adopted for 
letters (Merchant of Venice IV. 1. 149-164), and on other occa- 
sions where it is desirable to lower the dramatic pitch. ... It 
is also used to express frenzy, . . . and madness, . . . and the 
higher flights of the imagination." 

Poetry is better suited than is prose to express the lighter 
moods of love and joy, as in the love scene in Act V. It gives 
life and vivacity to a scene where much action is needed, as in 
the court scene. Prose, on the contrary, better expresses the 
calmer mood of contemplation, and it is suited to a scene where 
the speakers are quietly discussing a general question, as in the 
scene where Portia and Nerissa are talking over the suitors. 
An unemotional character may well reveal his lack of sensibility 
by using prose, as does Launcelot throughout the play. Prose, 
then, may show the mood either of a situation or of a character. 
This play affords opportunity for a considerable use of it. 

2. Use of Rhyme. — Abbott says: "Rhyme was often used as 
an effective termination at the end of a scene. When the scen- 
ery was not changed, or the arrangements were so defective that 
the change was not easily perceptible, it was, perhaps, addi- 
tionally desirable to mark that a scene was finished. . . . Rhyme 
was also sometimes used in the same conventional way, to mark 
an aside, which otherwise the audience might have great diffi- 
culty in knowing to be an aside." 

The earliest plays of Shakespeare, like Love's Labour Lost, 
make a very considerable use of rhymed verse. In this early 
period, besides producing plays he was writing a good many 
poems; and the influence of this is found in the appearance of 



18 THE MERCHANT OF VENICE 

so much rhymed verse in the early plays. Gradually there came 
to be a diminished use of rhyme. 

In this play we find rhymed couplets used either at the end 
of a scene or when an actor is making his exit. It is apparent 
that Shakespeare has in mind the intention of expressing a change 
of mood or an intensifying of mood in this variation from blank 
verse. For example, at the end of Act II, Portia has just bid 
farewell to Arragon, after the moments of considerable tension ; 
and she is told of Bassanio's approach. The rhymed lines well 
express the awakening of happier emotion. Nerissa, in a sim- 
ilar mood, echoes the sentiment by adding a rhymed line. 

3. Varied Forms of Verse. — The normal verse, in Shake- 
speare's plays, as we know, is iambic pentameter, — heroic verse. 

There are a good many variations, however, from this standard. 

(1) One or two syllables are sometimes added at the end of the line. 

W _|w - I w - |w-|w_|~ 

And the same prayer doth teach us all to rend er 
How doth that roy al mer chant, good An to ni o ? 

(2) Some lines are incomplete. 

What sum owes he the Jew? 

At times, however, the next speaker completes the metrical line: 

Bas. For me, three thou sand due ats. 

- I- - I 
Port. What, no more? 

(3) At times a trochaic foot appears to vary the metre. 

— ^ I 1 —» — : I .-— -I--I 

Rating my self at noth ing, you shall see. 

(4) Where there is a pause within the line, there may appear 
an added syllable. 

I lose your com pany: therefore forbear a while. 

(5) Occasionally the Alexandrine is used. This line has six 
accents. One form is the trimeter couplet. 

~ - | w-| w-|| w -|^-| r -| 

Who choos eth me shall gain what ma ny men desire. 



INTRODUCTION 19 

BACKGROUNDS OF THE PLAY 
1. The Attitude Toward the Jews 

In the time in which the play was written, there was a most 
unfair and cruel treatment of the Jews in England. In 1594, 
which was about the time the play was written, Dr. Lopez, 
who had been at one time court physician to Queen Elizabeth, 
was hanged under the false suspicion of having attempted to 
poison the queen. Frequently there had been severe persecu- 
tions of these people. Way back in 1290, Edward I had issued 
an edict, driving them from England, and leaving in the hands 
of the king all their property. This edict had been in force 
throughout the three hundred years up to Elizabeth's day. 
They had continued to live secretly in England, but it was not 
until the eighteenth century that they were privileged to enjoy 
civil rights in England. In Italy, however, the treatment 
had been much more charitable; and they were to be found in 
all the cities, living in comparative peace. 

We must remember that the play was written by an English 
writer who lived in the age of intolerance toward these people. 
There would be little sympathy for Shylock among the people 
in the audiences that listened to Shakespeare's plays. 

At the time that this play was being produced, there was 
being acted a new play, The Jew of Malta, written by Marlowe. 
This was most unfair to the Jews, but it received a popular ver- 
dict of approval. Then again, in 1701, Lord Lansdowne wrote 
a new version of The Merchant of Venice, in which Shylcck was 
made to be a comic character of the coarsest kind. This won 
much approval in its day, but it was a false perversion of the 
interpretation of Shylock's character as Shakespeare intended 
it to be. 

In 1814, the great Shakespearean actor, Kean, ventured to 
give a new interpretation of the play. He maintained that 
Shylock had been misunderstood, and he represented him as a 
man who had the wrongs of his people at heart and whose em- 
bitterment was justified by the treatment he received from the 
other characters in the play. This interpretation has been 
imitated by most of the great actors since the time of Kean. 
To-day it is this attitude that is generally taken toward Shy- 



20 THE MERCHANT OF VENICE 

lock and toward the play. Interpreting it in this light, the 
play is raised far above the coarse burlesque nature that it had 
in the intolerant days of old. 

2. The Italian Setting 

a. Venice. — We should keep in mind the ideas which pre- 
vailed in England in the time of Shakespeare of the magnificence 
of Venice. In the age of the poet, Venice was gazed on with 
admiration by the people of every country, and by none with 
more devotion than those of England. Her merchants were 
princes, her palaces were adorned with the works of Titian, and 
she was the seat of all pleasant delights, "the pleasure-place of 
all festivity, the revel of the world, the masque of Italy." Coryat, 
an English traveler, speaks of the palazzos of the merchants in 
the vicinity of the city, of the Rialto, and of the Ghetto, one of 
the islands on which the Jews lived, who were in number five 
or six thousand. He describes their dress: those born in Italy 
wearing red hats, while the Eastern Jews wore yellow turbans. — 

Hunter: New Illustrations. 
b. Padua. — Elze, in his Shakespeare Jahrbuch, describes the 
University of Padua at the close of the sixteenth century, when 
so great was the university's reputation everywhere that there 
were at one time representatives of twenty-three nations among 
its students. From the lists of these students it appears "that 
not a few Englishmen took up their abode in Padua for a longer 
or shorter time for the purpose of study, and all of whom must 
have visited Venice also; and it is to be inferred that the num- 
ber of English travelers who visited the city of the Doges must 
have been much larger than is commonly supposed. Hereby is 
disclosed another source, not hitherto noticed, whence a knowl- 
edge of Venetian customs and manners reached England. Shake- 
speare, if he did not visit Italy, may have obtained his knowledge 
from those who pursued their studies in Padua." Padua is 
twenty-two miles from Venice in a south-westerly direction. 
It has many notable palaces. In one of its houses Dante lived 
for a time. Livy was born in this city. The University of 
Padua, founded in 1222, was famous throughout the Middle 
Ages. At first law was the principal study. This fact must have 
influenced Shakespeare in the choice of this city for this play. 



INTRODUCTION ' 21 

c. Belmont. — Belmont, the home of Portia, was probably 
selected as being at a convenient distance from Padua. 

d. The Italian Dress. — The merchant wore a doublet and hose. 
He had a gown which was long and dark, the skirt open at the 
sides. This was bound by a silk sash. In addition, he wore a 
cape, ruffs, a merchant's flat cap, and gloves. The lover, like 
Bassanio, wore a doublet and silk or satin breeches, lace ruff, a 
silk bonnet, a silk cloak, silk stockings, Spanish morocco shoes, 
gloves, and a handkerchief. The lady of means, like Portia, 
wore a robe of cloth of gold, a silk veil, a jewelled chain, and 
strings of beads in the hair. The Jew wore a gaberdine, which 
was a loose cloak of dark color. The turban has been men- 
tioned. The Jewish maiden wore, according to the interpre- 
tation of the actor Booth, a yellow sash or veil of orange color. 
As a lawyer, Portia wore silk or velvet robes, black in color. 
Nerissa, as the lawyer's clerk, wore no gown like Portia's, but 
had a doublet and hose. 

3. Ideas of Medicine 

The time of Elizabeth marks the beginning of what might be 
called modern study of medicine. This study dates from the 
remarkable discovery made by Harvey, of the circulation of the 
blood. There were physicians of eminence in Shakespeare's 
day, but they had not gotten away from the ancient ideas of 
alchemy and astrology. Look up these words and read some- 
thing about them. The physicians were well educated and 
generally studied abroad, at Padua, Heidelburg, and at other 
university cities. It was just a few days before Shakespeare's 
death that Harvey delivered a course of lectures in which he 
presented the idea of the circulation of the blood. This was 
destined to revolutionize the science of medicine. Twice in 
the play we find references to the blood in the body. Gratiano 
says (Act I. Sc. 1. Line 81): 

And let my liver rather heat with wine 
Than my heart cool with mortifying groans. 

This illustrates the strange belief of Shakespeare's time that 
every time one sighs or groans one loses a drop of blood. 
Again, Bassanio says (Act III. Sc. 2. Line 86): 

Who, inward search'd, have livers white as milk; 



22 THE MERCHANT OF VENICE 

The liver of a coward was believed to be bloodless, an idea based 
upon the theory of Hippocrates. 

This crude belief, together with the theories regarding what 
were called humours, led to the practice of cupping. There 
were said to be four of these humours, or fluids, in the body: 
blood, phlegm, choler, and melancholy. As they individually 
prevailed, a person would be sanguine, or phlegmatic, or choleric, 
or melancholy. Cupping was the process of removing the blood, 
to diminish the surplus of fluid that occasioned one or another 
of these temperaments. The cupping was done by a barber, 
who also acted as the dentist of these days. Occasionally the 
blacksmith was called upon to extract teeth; and he served as a 
bone-setter for the physicians. When you realize that no anti- 
septics were used, you will imagine what the people suffered 
from the treatment. 

Most peculiar ideas prevailed regarding medicine. Pills 
were known to be made of the skull of a man who had been 
hanged. Chips from the hangman's tree were used as a remedy 
for the ague. To cure a child of the rickets, he 'was passed, 
head downwards, through a tree that was split open and then 
tied up. As the tree healed, the child was supposed to recover. 
Several references are made in Shakespeare's plays to the cure 
by means of the royal touch. Jaundice was thought to have a 
mental cause. Thus, Gratiano says (Act I. Sc. 1. Line 85): 

Sleep when he wakes, and creep into the jaundice 
By being peevish? 

Again, stones were thought to have healing powers. Sapphire 
was said to give courage, topaz to cure madness (Remember 
Sir Topaz. In what play?), coral to preserve one from enchant- 
ment. Shylock was in agony when he learned of the loss of 
his turquoise (Act III. Sc. 1. Line 100). It was believed that the 
color of the turquoise would change with the health of the one 
who wore it, and that the stone was a trustworthy sentinel to 
forewarn one of impending peril. 

4. The Laws Regarding Interest 

Both Churchmen and laymen of the Middle Ages interpreted 
the law of Moses to forbid the taking of interest for the use 
of money. Any interest was regarded as usury. From the 



INTRODUCTION . 23 

reign of King Alfred to that of Henry VIII all interest was legally 
forbidden in England. This prohibition led to many evasions 
of the law and to an emphasis upon what were called "damages". 
When money was loaned, a contract was drawn up, which re- 
quired that damages be paid in case the borrower should default. 
This is the basis of the bond arrangement of this play. A stat- 
ute in the reign of Henry VIII allowed interest to the amount 
of 10 per cent to be charged. This maximum was reduced in the 
reign of Queen Anne, to 5 per cent. 

5. The Italian Duke 

In the early part of the second century, the title of duke was 
used in the Roman empire to signify a general. In the fourth 
century there was a separation of the civil and military duties. 
The dukes became judges in military trials. In Italy, however, 
they soon centralized in their own hands both the civil and 
military powers. Dukes, in this older European sense, did not 
appear in early England. From the first, the title as used in 
England signified a mere honorary distinction. When Queen 
Elizabeth came to the throne, she found only one duke, the 
Duke of Norfolk. In more recent times, a considerable number 
of peers of the first rank have been given this title of duke. 
We see the title used in this play in the old European sense, in- 
cluding legal and military authority. 

6. Masques 

Shyl. What, are there masques? Hear you me, Jessica: 
Lock up my doors; and when you hear the drum 
And the vile squeaking of the wry-neck'd fife, 
Clamber not you up to the casements then, 
Nor thrust your head into the public street 
To gaze on Christian fools with varnish'd faces. 

It is fitting that Shakespeare should have introduced such a 
masque, or masquerade, as we should call it, into this play, which 
has an Italian setting, for the use of masks at costume balls orig- 
inated in Italy, where the domino, or half mask, worn by the 
ladies, became especially popular. Then, too, it was the time 
when the formal masque, or masked performance, a type of 
play which Shakespeare's contemporary Ben Jonson wrote, 



24 . THE MERCHANT OF VENICE 

was very popular. In Jonson's Tale of a Tub (V. 2) are these 
lines : 

Pan. A masque, what's that? 

Scri. A mumming or a shew, 
With vizards and fine clothes. 

Clench. A disguise, neighbor, 
Is the true word. 

Elze, as quoted by Furness, says: "To him who is unac- 
quainted with the old customs of the Venetians, it must seem 
to be a very extraordinary, nay, almost fantastic, invention of 
the Poet to represent Lorenzo as slinking away with his friends 
from a supper whereto they had been invited by Bassanio, to 
go to a masquerade, when it was not even carnival time. Such 
an idea could be conceived of in no other country, not even in 
any other state of Italy, except in Venice, although the custom 
of wearing masks was at that time very common; but here in 
Venice it was practiced universally, and at all seasons of the 
year. It was thus that the Doge, who appeared in public only 
on state occasions, visited the Opera, attended by only a single 
servant; he was then incognito. The Officers of State and 
the Magnificoes appeared in masks, on the evenings when new 
Ambassadors were received. Thus, the dignitaries of the Church 
and State wore at least half-masks, whereby all formal cere- 
monies were avoided, and a freer intercourse took place instead. 
Thus a Venetian lady had her mask at hand, just like her fan 
and her handkerchief, as Shakespeare has intimated, in Othello 
(IV. 2). And thus, then, among the gay and livelier young 
people, a play with masks was not unusual. That torch-bearers 
were also needed arose from the fact that the streets were a 
tangle and the street-lighting deficient." 

Taine says: "From the accession of Henry VIII to the death 
of James I we find nothing but tournaments, processions, public 
entries, masquerades. First came the royal banquets, corona- 
tion displays, large and noisy pleasures of Henry VIII." Taine 
goes on to quote from Holinshed: " '(At Wolsey's banquet) 
there wanted no dames or damosels, meet or apt to danse with 
the maskers, or to garnish the place for the time : then was there 
all kind of musike and harmonie, with fine voices both of men and 
children. On a time the king came suddenlie thither in a maske 
with a dozen maskers all in garments like sheepheards, made of 



INTRODUCTION 25 

fine cloth of gold and crimosin sattin paned, . . . having six- 
teene torch-bearers. ... In came a new banket before the 
king wherein were served two hundred diverse dishes, of costlie 
devises and subtilities. Thus passed they foorth the night 
with banketting, dansing, and other triumphs, to the great com- 
fort of the king, and pleasant regard of the nobilitie there as- 
sembled.' " 

ANALYSIS OF THE PLOTS 

A study of the play reveals five distinct plots: 

I. The story of the bond. 

II. The story of the caskets. 

III. The story of Launcelot and his father. 

IV. The story of Lorenzo and Jessica. 

V. The story of the two rings. 

One of these plots must be called the main plot; which one? 

In analyzing these different plots, two things should be looked 
for: (1) The names of the characters in each; (2) A brief synop- 
sis of each story. Such an outline as the following might be 
put in your note-book. It is suggested that the first reading of 
the play be for the purpose of getting an outline of the various 
stories, and that an outline of the following nature be used: 

I II III IV V 

Bond Caskets Launcelot- Lorenzo- Two Rings 
Story Story Father Story Jessica Story Story 

Characters : (make a list under each plot heading) 

Act I 

Scene I (Story) — — — 

Scene II (Story) — — — 

etc. 

Another way of analyzing the play is to go through the story 
and note in each scene the following points: 

I. The Setting. 

By setting is meant the time and place of the 
scene. The place is usually given, so that it is 
not hard to determine this; but the time is usu- 



26 THE MERCHANT OF VENICE 

ally to be determined from the text, and this 
requires some thought to find out. 
II. The Characters. 

The names of those that appear in the scene. 
III. The Plot. 

A very brief synopsis of the story. This might 
also include the purpose the writer had in the 
scene. To determine this, ask the question: 
What does the scene accomplish? 

COMMENTS ON THE CHARACTERS 
1. The Different Interpretations of Shylock's Character 

The character of Shylock is the key-note of the play. Mod- 
ern actors put such a different interpretation on the character 
than did those of Shakespeare's times that before approaching 
a serious study of the play it becomes necessary to decide at 
the outset what interpretation you are to put on Shylock's 
character. 

In the main, there are two interpretations: 

1. Shylock is, as Gratiano calls him (Act IV. 1, 127), 

an "inexorable dog", and as the Duke says, (Act 
IV. 1. 4-5) "an inhuman wretch uncapable of 
pity". 

2. Shylock is, as Hazlitt says, "the depositary of the 

vengeance of the race", — that is, his seeming cru- 
elty is only the voice that speaks for a people that 
have for generations suffered untold persecution. 
This is well shown in his own words (Act III. Sc. 1. 
line 63-72): "If you prick us, do we not bleed? 
if you tickle us, do we not laugh? if you poison us, 
do we not die? and if you wrong us, shall we not 
revenge? If we are like you in the rest, we will 
resemble you in that. If a Jew wrong a Christian, 
what is his humility? Revenge. If a Christian 
wrong a Jew, what should his sufferance be, by 
Christian example? Why, revenge. The vil- 
lainy you teach me, I will execute; and it shall go 
hard but I will better the instruction." 



INTRODUCTION 27 

We must approach the character of Shylock by one or the 
other of these two roads, and our decision in this will determine 
our attitude in general toward the whole play. Although there 
is considerable discussion as to the interpretation that was given 
by the audience in Shakespeare's time, and as to the attitude 
taken by Shakespeare himself, there is no doubt, from what has 
been shown regarding the attitude of the people of Elizabeth's 
day toward the Jews that there was little real sympathy for 
Shylock. On the other hand, there is a great difference in the 
treatment Shakespeare gives toward the Jew and in that given 
by Marlowe in a contemporary play, The Jew of Malta. Mar- 
lowe makes the Jew a brutal fiend, and his play met with great 
approval from the audiences of the day. Shylock is called "an 
inexorable dog", but it is b} 7 one of the other characters in the 
play, — one who is naturally prejudiced against him. 

In 1701, Lord Lansdowne produced a comic version of the 
play. This coarse interpretation of the character of Shylock 
met with great approval, but it misrepresents the original ver- 
sion. The age was still intolerant of the Jew. 

Early in the nineteenth century, the actor Kean rejected the 
former interpretation of the character of Shylock and introduced 
the new interpretation, that of making him "the depositary of 
the vengeance of the race". This version was retained by 
later actors, Macready, Henry Irving, and Lawrence Barrett. 
The great American actor, Edwin Booth, however, took the 
earlier version, feeling that Shylock was a cruel father and a 
wolfish usurer. 

Now how are we to approach the play? If we are to be true 
to Shakespeare, we must regard Shylock as did the other charac- 
ters in the play and not be influenced by the sympathetic and 
tolerant spirit of our own age. On the other hand, if we allow 
the spirit of our times to dominate, we shall pity Shylock and 
sympathize with him. 

2. Portia 

"I think of her as the cherished child of a noble father, — a 
father proud of his child's beauty, and of the promise which he 
sees in her of rare gifts. These gifts he spares no pains to foster. 
He is himself no ordinary man. He anticipates the danger to 



28 THE MERCHANT OF VENICE 

which the beautiful and wealthy heiress may be exposed; and 
it was by one of those 'good inspirations' which, as Nerissa 
says, 'holy men have at their death', (I. 2. 27) that he fixed 
upon the device of the three caskets, 'whereof who chooses his 
meaning chooses' his beloved daughter. From the first his aim 
has been to train her to succeed him in his high position. With 
this view he has surrounded her with all that is beautiful in art 
and ennobling in study, and placed her in the society of scholars, 
poets, soldiers, statesmen, the picked and noblest minds of her 
own and other lands. 

"Among this throng of honoured guests, not the least honoured 
was the 'learned cousin, Dr. Bellario'. This cousin of hers we 
may suppose to have been a constant visitor at .princely Bel- 
mont, and, indeed, to have been her instructor in jurisprudence. 
. . . Perhaps they have, even in these early days, 'turned over 
many books together' (IV. 1. 155). Her father may have seen 
with pleased surprise the bias of her mind toward such studies; 
and this, as well as her affection for her learned teacher, may 
have led him to take her to some of the famous trials of the day, 
so that when her own hour of trial comes, when heart and head 
must alike be strong, and her self-possession is taxed to the 
uttermost, she knows at least the forms of the court, and through 
no technical ignorance would be likely to betray herself." — 
Lady Martin, Shakespeare's Female Characters. 

"Portia, Isabella, Beatrice, and Rosalind may be classed to- 
gether, as characters of intellect, because when compared with 
others, they are at once distinguished by their mental superior- 
ity. In Portia it is intellect kindled into romance by a poetical 
imagination; in Isabel, it is intellect elevated by religious prin- 
ciple; in Beatrice, intellect animated by spirit; in Rosalind, 
intellect softened by sensibility. The wit which is lavished on 
each is profound, or pointed, or sparlding, or playful — but 
always feminine; . . . the wit of Portia is like ottar of roses, 
rich and concentrated; that of Rosalind, like cotton dipped in 
aromatic vinegar; the wit of Beatrice is like sal volatile; and 
that of Isabel, like the incense wafted to heaven. ... If con- 
sidered as women and individuals, as breathing realities, clothed 
in flesh and blood, I believe we must assign the first rank to 
Portia, as uniting in herself, in a more eminent degree than the 



INTRODUCTION 29 

others, all the noblest and most lovable qualities that ever met 
together in woman. 

"Portia is endued with her own share of those delightful qual- 
ities which Shakespeare has lavished on many of his female 
characters; but, besides the dignity, the sweetness, and tender- 
ness which should distinguish her sex generally, she is individual- 
ized, by qualities peculiar to herself; by her high mental powers, 
her enthusiasm of temperament, her decision of purpose, and 
her buoyancy of spirit. . . . 

"The sudden plan which she forms for the release of her hus- 
band's friend, her disguise, and her deportment as the young 
and learned doctor, would appear forced and improbable in 
any other woman, but in Portia are the simple and natural re- 
sult of her character. The quickness with which she perceives 
the legal advantage which may be taken of the circumstances, 
the spirit of adventure with which she engages in the masquer- 
ading, and the decision, firmness, and intelligence with which 
she executes her generous purpose, are all in perfect keeping, 
and nothing appears forced — nothing as introduced merely for 
theatrical effect. 

"But all the finest parts of Portia's character are brought to 
bear in the trial scene. There she shines forth, all her divine 
self. Her intellectual powers, her elevated sense of religion, 
her high honourable principles, her best feelings as a woman, are 
all displayed. She maintains at first a calm self-command, as 
one sure of carrying her point in the end; yet the painful heart- 
thrilling uncertainty in which she keeps the whole court, until 
suspense verges upon agony, is not contrived for effect merely; 
it is necessary and inevitable. She has two objects in view: to 
deliver her husband's friend, and to maintain her husband's 
honour by the discharge of his just debt, though paid out of 
her own wealth ten times over. It is evident that she would 
rather owe the safety of Antonio to anything rather than the 
legal quibble with which her cousin Bellario has armed her, and 
which she reserves as a last resource. Thus all the speeches 
addressed to Shylock in the first instance are either direct or 
indirect experiments on his temper and feelings. . . . She 
begins with an appeal to his mercy . . . but in vain. . . . 
Then she appeals both to his avarice and his pity. ... So 
unwilling is her sanguine and generous spirit to resign all hope, 



30 THE MERCHANT OF VENICE 

or to believe that humanity is absolutely extinct in the bosom 
of the Jew, that she calls on Antonio, as a last resource, to speak 
for himself. . . . 

"At last the crisis arrives, for patience and womanhood can 
endure no longer; and when Shylock . . . springs on his vic- 
tim — 'A sentence! come, prepare!' — then the smothered scorn, 
indignation, and disgust burst forth with an impetuosity which 
interferes with the judicial solemnity she has at first affected. 
. . . But she afterwards recovers her propriety, and triumphs 
with a cooler scorn and a more self-possessed exultation. 

"A prominent feature in Portia's character is that confiding, 
buoyant spirit, which mingles with all her thoughts and affec- 
tions. And here let me observe, that I never yet met in real 
life, nor ever read in tale or history, of any woman, distinguished 
for intellect of the highest order, who was not also remarkable 
for this trusting spirit, this hopefulness and cheerfulness of 
temper, which is compatible with the most serious habits of 
thought, and the most profound sensibility. . . . Portia's 
strength of intellect takes a natural tinge from the flush and 
bloom of her young and prosperous existence, and from her fer- 
vent imagination. In the casket scene, she fears indeed the 
issue of the trial, on which more than her life is hazarded; but 
while she trembles, her hope is stronger than her fear. . . . 

"Her subsequent surrender of herself in heart and soul, of 
her maiden freedom, and her vast possessions, can never be 
read without deep emotions ; for not only all the tenderness and 
delicacy of devoted woman are here blended with all the dignity 
which becomes the princely heiress of Belmont, but the serious, 
measured self-possession of her address to her lover, when all 
suspense is over, and all concealment superfluous, is most beauti- 
fully consistent with the character. ... In Portia's confes- 
sion — 'You see me, Lord Bassanio, where I stand,' etc. — which 
is not breathed from a moonlit balcony, but spoken openly in 
the presence of her attendants and vassals, there is nothing of 
the passionate self-abandonment of Juliet, nor of the artless 
simplicity of Miranda, but a consciousness and a tender serious- 
ness, approaching to solemnity, which are not less touching. . . . 

"In the last act, Shylock and his machinations being dis- 
missed from our thoughts and the rest of the dramatis personae 
assembled together at Belmont, all our interest and all our at- 



INTRODUCTION 31 

tention are riveted on Portia, and the conclusion leaves the most 
delightful impression on the fancy. The playful equivoque of 
the rings, the sportive trick she puts on her husband, and her 
thorough enjoyment of the jest, which she checks just as it is 
proceeding beyond the bounds of propriety, show how little 
she was displeased by the sacrifice of her gift, and are all con- 
sistent with her bright and buoyant spirit." — 

Mrs. Jameson, Characteristics of Women. 

3. Antonio 

Magnanimity, big-heartedness, self-abnegation, stand out as 
the crowning qualities of Antonio. Absolutely forgetful of 
himself he trusts his friends implicitly; generously and seemingly 
with imprudence loans money to Bassanio, not as a business 
investment but for his personal use; and when facing financial 
ruin is deeply concerned lest his friend suffer embarrassment. 

He naturally is grave and at times subject to melancholy, 
but underneath it all is a gentleness of manner and depth of 
tenderness that ennobles this sombre spirit. When facing 
death, this spirit brings self-restraint and calmness. This forti- 
tude of mind, however, is not the stolid, unfeeling stoicism that 
Brutus shows, but is the tender resignation of one whose feelings, 
however deep, are yet in restraint. 

It is a seeming paradox to find Antonio, with the nature just 
described, given to so caustic and insulting language toward 
Shylock. Knight, in his Pictorial Shakespeare, says: "Was it 
without an object that Shakespeare made this man, so entitled 
to command our affections and our sympathy, act so unworthy 
a part, and not be ashamed of the act? Most assuredly the poet 
did not intend to justify the indignities which were heaped upon 
Shylock; for in the very strongest way he has made the Jew 
remember the insult in the progress of his wild revenge: 

Thou ealled'st me a dog before thou hadst a cause: 
But, since I am a dog, beware my fangs. 

Here, to our minds, is the first of the lessons of charity which 
this play teaches. Antonio is as much to be pitied for his preju- 
dices as the Jew for his. They had both been nurtured in evil 
opinions. . . . The habitual contempt with which he (Shy- 
lock) is treated by men who in every other respect are gentle 



32 THE MERCHANT OF VENICE 

and good-humoured and benevolent is a proof to us that Shake- 
speare meant to represent the struggle that must inevitably 
ensue, in a condition of society where the innate sense of justice 
is deadened in the powerful by those hereditary prejudices 
which make cruelty virtuous; and where the powerless, invested 
by accident with the means of revenge, say with Shylock, 'The 
villainy you teach me I will execute; and it shall go hard but I 
will better the instruction.' " 

4. Bassanio 

In some ways Bassanio 's character stands as an inverted re- 
flection of Antonio. The response to his benefactor's sacrifices 
must in some measure determine our estimation of Bassanio. 
Now in all his relations with Antonio, Bassanio is absolutely 
open and candid. There is no hesitancy or concealment in his 
presentation of his case to his friend; he very evidently has no 
false motive. And it is this very ingenuousness that makes his 
appeal telling and occasions in us less surprise at Antonio's 
readiness to do whatever is in his power to aid Bassanio. How- 
ever, one must call upon one's imagination to endorse this en- 
couragement of such seeming prodigality as Bassanio shows. 
But why should there not be a resort to imagination if so good a 
plot result? 

Besides this frankness we see in Bassanio a deep genuineness 
of character, as shown in the way he spurns the gold and silver 
caskets and chooses that which stands not for "ornament", 
which "is but the guiled shore to a most dangerous sea", but for 
"paleness", which "moves" him "more than eloquence". 

5. Jessica 

If Shylock may be viewed in two contrary lights, even so may 
Jessica. Here are the two views: 

(1) She was disloyal to her father and to her religion, was 
frivolous and lacking in moral poise, and lacked womanliness. 
Here is what Giles, in Human Life in Shakespeare, says: "In 
his (Shakespeare's) less serious plays all the characters whom he 
intends for lovable have not only graces and charms, but natural 
femininely sensibilities. One exception there is, — which not 
even Shakespeare can make me like, — and that is the pert, dis- 



INTRODUCTION 33 

obedient Jessica. Her conduct I regard as in a high degree 
reprehensible. . . . She selfishly forgot the duty of a daughter 
when she should have remembered it. Why should she, a maiden 
of Israel, leave her poor old father, Shylock, alone in the midst 
of his Christian enemies? What if he was wrong? The more 
need he had of her. What if most wrong? Even then, even in 
the madness of defeated vengeance, in the misery of humbled 
pride, when regarded as most guilty, when there was nothing 
in the world for him but contempt without pity, the child of 
his home — his only child — should have had in her woman's 
heart a shelter for her scorned father. . . . Besides, she turned 
Christian for a husband. Changes of religion for husbands, or 
with them, may do for the children of kings; it is not to be com- 
mended in the children of the people." 

(2) Winsome, innocent of any evil intent, she is excusable 
of all she did on the ground that she was brought up under cruel 
restraint by a father who could say of her, in the moment when 
she sought her rightful freedom, "I would my daughter were 
dead at my foot, and the jewels in her ear! — would she were 
hearsed at my foot, and the ducats in her coffin!" 

Perhaps we may take an intermediate ground in estimating 
her, as does Hudson: " Jessica's elopement, in itself, and its 
circumstances, puts us to the alternative that either she is a 
bad child or Shylock is a bad father. And there is enough to 
persuade us of the latter; though not in such sort but that some 
share of the reproach falls to her. For if a young woman have 
so bad a home as to justify her in thus deserting and robbing 
it, the atmosphere of the place can hardly fail to leave some 
traces in her temper and character." 

6. Gratiano 

In Pilgrim's Progress, when Faithful approached Talkative 
with the question, "Well, then, what is that one thing that we 
shall at this time found our discourse upon?" the reply of Talk- 
ative was, "What you will. I will talk of things heavenly, or 
things earthly; things moral, or things evangelical; things 
sacred, or things profane; things past or things to come; things 
foreign, or things at home; things more essential, or things cir- 
cumstantial: provided that all be done to our profit." But 



34 THE MERCHANT OF VENICE 

how uninteresting is the Talkative of this story in comparison 
to Gratiano, of whom Bassanio said he "speaks an infinite deal 
of nothing"! To be sure, a good deal of Gratiano's talk is seem- 
ingly mere trifling, but he is vivacious, witty, the life of the 
party. Charles Cowden-Clarke says of him: "He is one of 
those useful men in society who will keep up the ball of mirth 
and good-humour, simply by his own mercurial temperament 
and agreeable rattle; for he is like a babbling woodside brook, 
seen through at once, and presenting every ripple of its surface 
to the sunbeams of good-fellowship. ... He would no doubt 
talk a man off his legs; and, therefore, Shakespeare brings him 
as a relief against the grave men, Antonio and Bassanio, who, 
being anxious about worldly cares, resent his vivacity, and they 
are at all events as peevish as he is flippant and inconsiderate." 
But there is a deeper side to the nature of Gratiano, and his 
character cannot be read simply on the surface. He is deeply 
concerned at Antonio's misfortune, he does his best to cheer 
him up, and the whole aim of all his garrulousness is to raise the 
spirits of those who are despondent. Unselfishness is written 
into his every word and act. 

7. Nerissa 

Nerissa is admirably suited to be the companion of Gratiano. 
She is playful, attractive, lively; and she, too, shows in her con- 
versation with Portia that she is given to generalities in talking, 
and would easily maintain her part in any conversation. She 
does not lack will, in which she imitates Portia, as we see when 
they berate their husbands for seeming faithlessness in the loss 
of the rings. 

STAGE COSTUMES 

1. Shylock. — Edwin Booth interpreted the part in the fol- 
lowing costume: "A long, dark-green gown, trimmed at the 
edge of the skirt with an irregular device of brown colour. A 
dark-brown gaberdine, with flowing sleeves and hood, lined with 
green and trimmed as the gown. A variegated scarf about the 
waist, from which depends a leather pouch. Head grey and 
pretty bald; beard of same colour and quite long. Ear-rings 
and several finger-rings, one on the thumb and one on forefinger ; 



INTRODUCTION 35 

a long knotted staff. Complexion swarthy r age about sixty. 
Red leather pointed shoes, and hat of orange-tawny colour, 
shaped somewhat like the Phrygian cap, but with a rim of about 
two inches, turned up." 

Henry Irving wore "an iron-gray wisp of beard, a sober brown 
gaberdine, an Oriental shawl girdle, and a close-fitting black 
cap with a yellow line across it." 

2. Portia. — Godwin, as quoted by Furness, speaks of the 
Paduan ladies as wearing "high-necked bodies, with fine cambric 
ruffs." Speaking of the hair, he says, "In some cases it was 
crimped, parted in the middle, brought round to the back over 
the ears, and rolled up a la grcc; in others it.fell loosely down the 
back au naturel, confined, however, at the poll by a delicately- 
wrought band or tiara of goldsmith's work; but the more usual 
plan was to arrange the front hair in massive curls, assuming 
somewhat the form of a couple of low horns, and carried down 
each side in smaller curls to the ears, the hair behind being 
strained and fastened up into a plait, with strings of pearls 
interwoven. From this plait depended a veil, which sometimes 
also appears to have covered the head up to a point between 
the horned curls or rolls, over which it could be raised like a 
double hood." Continuing, he says: "The gown was cut like 
the Venetian dress, and was made of silk, brocade, gold cloth, 
or costly velvet. Over the shoulders was worn a chain, usually 
of gold set with jewels, and suspending a large jewel or cross. 
. . . Rings were worn on the first, third, and fourth fingers. 
Earrings of pearls and jewels appear. . . . Portia's stockings 
would be of silk or the finest thread worked with clocks and 
even open seams. Her shoes, of slipper form, would be of 
morocco, or of velvet embroidered with gold, cork being used 
for the soles." 

As a civil doctor, she would wear, according to Godwin, "a 
tight doublet, silk belt, trunk hose, and stockings, all of black; 
velvet in winter, silk in summer. Over these, the official robe 
or gown, ungirdled, having an upright collar and long, capacious 
open sleeves reaching nearly to the ground. This was made of 
velvet, silk, or damask, covered with rich pattern, cut, embroid- 
ered, or Y\roven, according to the nature of the material. . . . 
On her head she would wear a tolerably high cap, made with 
narrow brim and a flat top, and on her feet the usual slipper 



36 THE MERCHANT OF VENICE 

shoes. The clerk would wear a black cloth doublet, trunks, 
stockings, and ruffs, but no robe or gown." 

3. Antonio. — Godwin says that there would be no difference 
between the costumes of Antonio and Shylock other than in the 
color of their caps, — Shylock being obliged to wear his cap "made 
of a tawny-yellow material". 

4. Nerissa. — Godwin says she must be dressed, as a maid 
who acts as a "confidential servant of a noble and wealthy 
lady", with "the ruffs at neck and wrists, but of less delicate 
material than those of Portia; the skirt of her gown will be 
shorter than her ladyship's, and there will be an absence of orna- 
ment, except, perhaps, as a border to the dress. She must wear 
a ring or two, and from her girdle would hang a pouch and hus- 
wife. She would also have a short veil of plain lawn or cambric, 
which she might use as a hood, pinned under the chin." 

5. Jessica. — Edwin Booth says: "Jessica should wear a 
yellow sash or veil, of the same colour as Shylock 's cap." 

6. Bassanio, and the other nobles. — Knight says: "Young 
lovers wear generally a doublet and breeches of satin, cut or 
slashed in the form of crosses or stars, through which slashing 
is seen the lining of coloured taffeta; gold buttons, a lace ruff, 
a bonnet of rich velvet or silk with an ornamental band, a silk 
cloak, and silk stockings, Spanish morocco shoes, a flower in 
one hand and their gloves and handkerchief in the other." 

General Comment. — Richard Grant White says: "The Mer- 
chant of Venice has never been put on the stage in the costume 
of the time at which it was written. ... It is to be feared that 
the splendour and faithfulness of the scene would be forgotten 
in its absurdity. . . Any Italian costume . . . sufficiently an- 
tique to remove the action out of the range of present probabil- 
ities, will meet the dramatic requirements of the play; but the 
orange-tawny bonnet . . . ought not to be missed from the 
brow of Shylock." 



THE MERCHANT 
OF VENICE 



37 



DRAMATIS PERSONS 

The Duke of Venice 

The Prince of Morocco 1 _ 

„ „ . > suitors to Portia. 

The Prince of Arragon J 

Antonio, a merchant of Venice. 

Bassanio, friend to Antonio, suitor likewise to Portia. 

Salanio 

Salarino > friends to Antonio and Bassanio. 

Gratiano J 

Lorenzo, in love with Jessica. 

Shylock, a rich Jew. 

Tubal, a Jew, friend to Shylock. 

Launcelot Gobbo, a Clown, servant to Shylock. 

Old Gobbo, father to Launcelot. 

Leonardo, servant to Bassanio. 

Balthazar ) 

Q > servants to Portia 

feTEPHANO j 

Portia, a rich heiress. 

Nerissa, waiting-maid to Portia. 

Jessica, daughter to Shylock. 

Magnificoes of Venice, Officers of the Court of Justice, Gaoler, 
Servants to Portia, and other Attendants. 

SCENE — Partly at Venice; and partly at Belmont, the seat 
of Portia, on the Continent. 



38 



THE MERCHANT OF VENICE 

ACT I 

Scene I. Venice. A street 
Enter Antonio, Salarino, and Salanio 

Ant. In sooth, I know not why I am so sad: 
It wearies me; you say it wearies you; 
But how I caught it, found it, or came by it, 
What stuff 'tis made of, whereof it is born, 
I am to learn; 

And such a want-wit sadness makes of me, 
That I have much ado to know myself. 

Salar. Your mind is tossing on the ocean; 
There, where your argosies with portly sail, 
Like signiors and rich burghers on the flood, 10 

Or, as it were, the pageants of the sea, 
Do overpeer the petty traffickers, 
That curtsy to them, do them reverence, 
As they fly by them with their woven wings. 

Salan. Believe me, sir, had I such venture forth, 
The better part of my affections would 
Be with my hopes abroad. I should be still 
Plucking the grass, to know where sits the wind, 
Feering in maps for ports and piers and roads; 
And every object that might make me fear 20 

39 



40 THE MERCHANT OF VENICE [Act I 

Misfortune to my ventures, out of doubt, 
Would make me sad. 

Salar. My wind, cooling my broth, 

Would blow me to an ague, when I thought 
What harm a wind too great might do at sea. 
I should not see the sandy hour-glass run 
But I should think of shallows and of flats, 
And see my wealthy Andrew dock'd in sand, 
Vailing her high-top lower than her ribs 
To kiss her burial. Should I go to church 
And see the holy edifice of stone, 30 

And not bethink me straight of dangerous rocks, 
Which, touching but my gentle vessel's side, 
Would scatter all her spices on the stream, 
Enrobe the roaring waters with my silks, 
And, in a word, but even now worth this, 
And now worth nothing? Shall I have the thought 
To think on this, and shall I lack the thought 
That such a thing, bechanced, would make me sad? 
But tell not me; I know, Antonio 
Is sad to think upon his merchandise. 40 

Ant. Believe me, no; I thank my fortune for it, 
My ventures are not in one bottom trusted, 
Nor to one place; nor is my whole estate 
Upon the fortune of this present year: 
Therefore my merchandise makes me not sad. 

Salar. Why, then you are in love. 

Ant. Fie, fie! 

Salar. Not in love neither? Then let us say you 
are sad, 



Scene I] THE MERCHANT OF VENICE 41 

Because you are not merry: and 'twere as easy 
For you to laugh and leap and say you are merry, 
Because you are not sad. Now, by two-headed 

Janus, 50 

Nature hath framed strange fellows in her time: 
Some that will evermore peep through their eyes, 
And laugh, like parrots, at a bag-piper; 
And other 'of such vinegar aspect 
That they'll not show their teeth in way of smile, 
Though Nestor swear the jest be laughable. 

Enter Bassanio, Lorenzo, and Gratiano 

Salan. Here comes Bassanio, your most noble 
kinsman, 
Gratiano, and Lorenzo. Fare ye well: 
We leave you now with better company. 

Salar. I would have stay'd till I had made you 
merry, 60 

If worthier friends had not prevented me. 

Ant. Your worth is very dear in my regard. 
I take it, your own business calls on you, 
And you embrace th' occasion to depart. 
Salar. Good morrow, my good lords. 
Bass. Good signiors both, when shall we laugh? 
Say, when? 
You grow exceeding strange: must it be so? 
Salar. We'll make our leisures to attend on yours. 
[Exeunt Salarino and Salanio 
Lor. My lord Bassanio, since you have found 
Antonio, 



42 THE MERCHANT OF VENICE [Act I 

We two will leave you; but at dinner-time, 70 

I pray you, have in mind where we must meet- 
Bass. I will not fail you. 
Gra. You look not well, Signior Antonio; 
You have too much respect upon the world : 
They lose it that do buy it with much care. 
Believe me, you are marvellously changed. 

Ant. I hold the world but as the world, Gratiano; ' 
A stage where every man must play a part, 
And mine a sad one. 

Gra. Let me play the fool : 

With mirth and laughter let old wrinkles come; 80 

And let my liver rather heat with wine 
Than my heart cool with mortifying groans. 
Why should a man, whose blood is warm within, 
Sit like his grandsire cut in alabaster? 
Sleep when he wakes and creep into the jaundice 
By being peevish? I tell thee what, Antonio — 
I love thee, and it is my love that speaks — 
There are a sort of men whose visages 
Do cream and mantle like a standing pond, 
And do a wilful stillness entertain, 
With purpose to be dress'd in an opinion 90 

Of wisdom, gravity, profound conceit, 
As who should say, "I am Sir Oracle, 
And when I ope my lips, let no dog bark!" 
O my Antonio, I do know of these 
That therefore only are reputed wise 
For saying nothing; when, I am very sure, 
If they should speak, would almost damn those ears 



Scene I] THE MERCHANT OF VENICE 43 

Which, hearing them, would call their brothers fools. 

I'll tell thee more of this another time: 100 

But fish not, with this melancholy bait, 

For this fool-gudgeon, this opinion. 

Come, good Lorenzo. Fare ye well a while: 

I'll end my exhortation after dinner. 

Lor. Well, we will leave you, then, till dinner- 
time: 
I must be one of these same dumb wise men, 
For Gratiano never lets me speak. 

Gra. Well, keep me company but two years moe, 
Thou shalt not know the sound of thine own tongue. 

Ant. Farewell: I'll grow a talker for this gear, no 

Gra. Thanks, i' faith, for silence is only com- 
mendable 
In a neat's tongue dried. 

[Exeunt Gratiano and Lorenzo 

Ant. Is that any thing now? 

Bass. Gratiano speaks an infinite deal of noth- 
ing, more than any man in all Venice. His reasons 
are as two grains of wheat hid in two bushels of 
chaff: you shall seek all day ere you find them; 
and when you have them, they are not worth the 
search. 

Ant. Well, tell me now what lady is the same 
To whom you swore a secret pilgrimage, 120 

That you to-day promised to tell me of? 

Bass. ; Tis not unknown to you, Antonio, 
How much I have disabled mine estate, 
By something showing a more swelling port 



44 THE MERCHANT OF VENICE [Act I 

Than my faint means would grant continuance: 

Nor do I now make moan to be abridged 

From such a noble rate; but my chief care 

Is to come fairly off from the great debts 

Wherein my time, something too prodigal, 

Hath left me gaged. To you. Antonio, 130 

I owe the most, in money and in love; 

And from your love I have a warranty 

To unburden all my plots and purposes 

How to get clear of all the debts I owe. 

Ant. I pray you, good Bassanio, let me know it; 
And if it stand, as you yourself still do, 
Within the eye of honour, be assured 
My purse, my person, my extremest means 
Lie all unlock' d to your occasions. 

Bass. In my school-days, when I had lost one shaft, 140 
I shot his fellow of the self-same flight 
The self-same way, with more advised watch, 
To find the other forth; and by adventuring both 
I oft found both: I urge this childhood proof, 
Because what follows is pure innocence. 
I owe you much; and, like a wilful youth, 
That which I owe is lost: but if you please 
To shoot another arrow that self way 
Which you did shoot the first, I do not doubt, 
As I will watch the aim, or to find both 15C 

Or bring your latter hazard back again, 
And thankfully rest debtor for the first. 

Ant. You know me well; and herein spend but 

time 



Scene I] THE MERCHANT OF VENICE 45 

To wind about my love with circumstance; 

And, out of doubt, you do me now more wrong 

In making question of my uttermost 

Than if you had made waste of all I have. 

Then do but say to me what I should do, 

That in your knowledge may by me be done, 

And I am prest unto it: therefore speak. 160 

Bass. In Belmont is a lady richly left; 
And she is fair, and, fairer than that word, 
Of wondrous virtues: sometimes from her eyes 
I did receive fair speechless messages. 
Her name is Portia, nothing undervalued 
To Cato's daughter, Brutus' Portia. 
Nor is the wide world ignorant of her worth, 
For the four winds blow in from every coast 
Renowned suitors ; and her sunny locks 
Hang on her temples like a golden fleece; 170 

Which makes her seat of Belmont Colchos' strand, 
And many Jasons come in quest of her. 

my Antonio, had I but the means 
To hold a rival place with one of them, 

1 have a mind presages me such thrift, 
That I should questionless be fortunate! 

Ant. Thou know'st that all my fortunes are at sea; 
Neither have I money nor commodity 
To raise a present sum: therefore go forth; 
Try what my credit can in Venice do : 180 

That shall be rack'd, even to the uttermost, 
To furnish thee to Belmont, to fair Portia. 
Go, presently inquire, and so will I, 



46 THE MERCHANT OF VENICE [Act I 

Where money is; and I no question make 

To have it of my trust or for my sake. [Exeunt 



Scene II. Belmont. A room in Portia's house 
Enter Portia and Nerissa 

Por. By my troth, Nerissa, my little body is 
aweary of this great world. 

Ner. You would be, sweet madam, if your 
miseries were in the same abundance as your good 
fortunes are: and yet, for aught I see, they are as 
sick that surfeit with too much, as they that starve 
with nothing. It is no small happiness, therefore, 
to be seated in the mean ; superfluity comes sooner 
by white hairs, but competency lives longer. 

Por. Good sentences and well pronounced. 10 

Ner. They would be better, if well followed. 

Por. If to do were as easy as to know what were 
good to do, chapels had been churches, and poor 
men's cottages princes' palaces. It is a good divine 
that follows his own instructions : I can easier teach 
twenty what were good to be done than be one of 
the twenty to follow mine own teaching. The 
brain may devise laws for the blood; but a hot 
temper leaps o'er a cold decree : such a hare is mad- 
ness the youth, to skip o'er the meshes of good 20 
counsel the cripple. But this reasoning is not in the 
fashion to choose me a husband. me, the word 
"choose" ! I may neither choose whom I would nor 
refuse whom I dislike ; so is the will of a living daugh- 



Scene II] THE MERCHANT OF VENICE 47 

ter curbed by the will of a dead father. Is it not hard, 
Nerissa, that I cannot choose one nor refuse none? 

Ner. Your father was ever virtuous; and holy 
men at their death have good inspirations; there- 
fore the lottery that he hath devised in these three 
chests of gold, silver, and lead (whereof who chooses 30 
his meaning chooses you) will, no doubt, never be 
chosen by any rightly, but one who shall rightly love. 
But what warmth is there in your affection towards 
any of these princely suitors that are already come? 

Por. I pray thee, over-name them; and as thou 
namest them, I will describe them; and, according 
to my description, level at my affection. 

Ner. First, there is the Neapolitan prince. 

Por. Ay, that's a colt, indeed, for he doth 
nothing but talk of his horse; and he makes it a 40 
great appropriation to his own good parts, that he 
can shoe him himself. 

Ner. Then is there the County Palatine. 

Por. He doth nothing but frown; as who 
should say, "An' you will not have me, choose"; he 
hears merry tales, and smiles not: I fear he will 
prove the weeping philosopher when he grows old, 
being so full of unmannerly sadness in his youth. 
I had rather be married to a death's-head with a 
bone in his mouth than to either of these. God 50 
defend me from these two! 

Ner. How say you by the French lord, Mon- 
sieur Le Bon? 

Por. God made him, and therefore let him pass 



48 THE MERCHANT OF VENICE [Act I 

for a man. In truth, I know it is a sin to be a 
mocker; but he! why, he hath a horse better than 
the Neapolitan's; a better bad habit of frowning 
than the Count Palatine: he is every man in no 
man: if a throstle sing, he falls straight a-capering; 
he will fence with his own shadow: if I should 60 
marry him, I should marry twenty husbands. If 
he, would despise me, I would forgive him; for, if ' 
he love me to madness, I shall never requite him. 

Ner. What say you, then, to Falconbridge, the 
young baron of England? 

Por. You know I say nothing to him; for he 
understands not me, nor I him: he hath neither 
Latin, French, nor Italian, and you will come into 
the court and swear that I have a poor pennyworth 
in the English. He is a proper man's picture; but 70 
alas, who can converse with a dumb-show? How 
oddly he is suited! I think he bought his doublet 
in Italy, his round hose in France, his bonnet in 
Germany, and his behaviour everywhere. 

Ner. What think you of the Scottish lord, his 
neighbour? 

Por. That he hath a neighbourly charity in him; 
for he borrowed a box of the ear of the Englishman, 
and swore he would pay him again when he was 
able: I think the Frenchman became his surety, so 
and sealed under for another. 

Ner. How like you the young German, the 
Duke of Saxony's nephew? 

Por. Very vilely in the morning, when he is 



Scene II] THE MERCHANT OF VENICE 49 

sober; and most vilely in the afternoon, when he 
is drunk : when he is best, he is a little worse than 
a man, and when he is worst, he is little better, than 
a beast: an' the worst fall that ever fell, I hope I 
shall make shift to go without him. 

Ner. If he should offer to choose, and choose 90 
the right casket, you should refuse to perform your 
father's will, if you should refuse to accept him. 

Por. Therefore, for fear of the worst, I pray 
thee set a deep glass of Rhenish wine on the con- 
trary casket : for, if the devil be within and that 
temptation without, I know he will choose it. I 
will do any thing, Nerissa, ere I will be married to 
a sponge. 

Ner. You need not fear, lady, the having any 
of these lords : they have acquainted me with their 100 
determinations, which is, indeed, to return to their 
home and to trouble you with no more suit, unless 
you may be won by some other sort than your 
father's imposition, depending on the caskets. 

Por. If I live to be as old as Sibylla, I will die 
as chaste as Diana, unless I be obtained by the 
manner of my father's will. I am glad this parcel 
of wooers are so reasonable; for there is not one 
among them but I dote on his very absence, and I 
wish them a fair departure. no 

Ner. Do you not remember, lady, in your 
father's time, a Venetian, a scholar, and a soldier, 
that came hither in company of the Marquis of 
Montferrat? 



50 THE MERCHANT OF VENICE [Act I 

Por. Yes, yes, it was Bassanio; as I think, so 
was he called. 

Ner. True, madam : he, of all the men that ever 
my foolish eyes looked upon, was the best deserving 
a fair lady. 

Por, I remember him well; and I remember 120 
him worthy of thy praise. 

Enter a Serving-man 

How now! what news? 

Serv. The four strangers seek you, madam, to 
take their leave: and there is a forerunner come 
from a fifth, the Prince of Morocco, who brings 
word the prince his master will be here to-night. 

Por. If I could bid the fifth welcome with so 
good heart as I can bid the other four farewell, I 
should be glad of his approach: if he have the con- 
dition of a saint and the complexion of a devil, I 130 
had rather he should shrive me than wive me. 
Come, Nerissa. Sirrah, go before. 
Whiles we shut the gate upon one wooer, another 
knocks at the door. [Exeunt 

Scene III. Venice. A public place 
Enter Bassanio and Shylock 
Shy. Three thousand ducats; well. 
Bass. Ay, sir, for three months. 
Shy. For three months; well. 
Bass. For the which, as I told you, Antonio 
shall be bound. 



Scene III] THE MERCHANT OF VENICE 51 

Shy. Antonio shall become bound; well. 

Bass. May you stead me? Will you pleasure 
me? Shall I know your answer? 

Shy. Three thousand ducats, for three months, 
and Antonio bound. 10 

Bass. Your answer to that. 

Shy. Antonio is a good man. 

Bass. Have you heard any imputation to the 
contrary? 

Shy. Ho, no, no, no, no: my meaning, in say- 
ing he is a good man is to have you understand me 
that he is sufficient. Yet his means are in supposi- 
tion: he hath an argosy bound to Tripolis, another 
to the Indies; I understand, moreover, upon the 
Rialto, he hath a third at Mexico, a fourth for 20 
England; and other ventures he hath, squandered 
abroad. But ships are but boards, sailors but men : 
there be land-rats and water-rats, water-thieves 
and land thieves — I mean, pirates; and then there 
is the peril of waters, winds, and rocks. The man 
is, notwithstanding, sufficient. Three thousand 
ducats; I think I may take his bond. 

Bass. Be assured you may. 

Shy. I will be assured I may; and, that I may 
be assured, I will bethink me. May I speak with 30 
Antonio? 

Bass. If it please you to dine with us. 

Shy. Yes, to smell pork; to eat of the habitation 
which your prophet, the Nazarite, conjured the devil 
into! I will buy with you, sell with you, talk with 



52 THE MERCHANT OF VENICE [Act I 

you, walk with you, and so following; but I will not 
eat with you, drink with you, nor pray with you. 
What news on the Rialto? Who is he comes here? 

Enter Antonio 

Bass. This is Signior Antonio. 

Shy. [Aside] How like a fawning publican he 40 
looks! 
I hate him for he is a Christian; 
But more for that in low simplicity 
He lends out money gratis and brings down 
The rate of usance here with us in Venice. 
If I can catch him once upon the hip, 
I will feed fat the ancient grudge I bear him. 
He hates our sacred nation; and he rails, 
Even there where merchants most do congregate, 
On me, my bargains, and my well- won thrift, 
Which he calls interest. Cursed be my tribe 50 

If I forgive him! 

Bass. Shylock, do you hear? 

Shy. I am debating of my present store; 
And, by the near guess of my memory, 
I cannot instantly raise up the gross 
Of full three thousand ducats. What of that? 
Tubal, a wealthy Hebrew of my tribe, 
Will furnish me. But soft! how many months 
Do you desire? [To Ant.] Rest you fair, good 

signior : 
Your worship was the last man in our mouths. 

Ant. Shylock, albeit I neither lend nor borrow 60 



Scene III] THE MERCHANT OF VENICE 53 

By taking nor by giving of excess, 
Yet, to supply the ripe wants of my friend, 
I'll break a custom. Is he yet possess'd 
How much you would? 

Shy. Ay, ay, three thousand ducats. 

Ant. And for three months. 

Shy. I had forgot, three months; you told me so. 
Well then, your bond; and, let me see; but hear you; 
Methought you said you neither lend nor borrow 
Upon advantage. 

Ant. I do never use it. 

Shy. When Jacob grazed his uncle Laban's 
sheep — 70 

This Jacob from our holy Abram was, 
As his wise mother wrought in his behalf, 
The third possessor; ay, he was the third — 

Ant. And what of him? did he take interest? 

Shy. No, not take interest, not, as you would 
say, 
Directly interest: mark what Jacob did. 
When Laban and himself were compromised, 
That all the eanlings which were streak'd and pied 
Should fall as Jacob's hire, 

The skilful shepherd pilled me certain wands 80 

And stuck them up before the fulsome ewes, 
Who, then conceiving, did in eaning time 
Fall parti-coloured lambs, and those were Jacob's. 
This was a way to thrive, and he was blest; 
And thrift is blessing, if men steal it not. 

A nt. This was a venture, sir, that Jacob served for ; 



54 THE MERCHANT OF VENICE [Act I 

A thing not in his power to bring to pass, 

But sway'd and fashion'd by the hand of heaven. 

Was this inserted to make interest good? 

Or is your gold and silver ewes and rams? 90 

Shy. I cannot tell; I make it breed as fast. 
But note me, signior. 

Ant. Mark you this, Bassanio, 

The devil can cite Scripture for his purpose. 
An evil soul, producing holy witness, 
Is like a villain with a smiling cheek; 
A goodly apple rotten at the heart : 
0, what a goodly outside falsehood hath! 

Shy. Three thousand ducats, 'tis a good round 
sum. 
Three months from twelve, then, let me see; the 
rate — 

Ant. Well, Shylock, shall we be beholding to 
you? ioo 

Shy. Signior Antonio, many a time and oft 
In the Rialto you have rated me 
About my moneys and my usances: 
Still have I borne it with a patient shrug; 
For sufferance is the badge of all our tribe. 
You call me misbeliever, cut-throat-dog, 
And spit upon my Jewish gaberdine, 
And all for use of that which is mine own. 
Well then, it now appears you need my help: 
Go to, then; you come to me, and you say, no 

"Shylock, we would have money": you say so; 
You, that did void your rheum upon my beard 



Scene III] THE MERCHANT OF VENICE 55 

And foot me as you spurn a stranger cur 

Over your threshold : moneys is your suit. 

What should I say to you? Should I not say, 

"Hath a dog money? Is it possible 

A cur can lend three thousand ducats?" Or 

Shall I bend low, and in a bondman's key, 

With bated breath and whispering humbleness, 

Say this: 120 

"Fair sir, you spit on me on Wednesday last; 

You spurn' d me such a day; another time 

You call'd me dog; and for these courtesies 

I'll lend you thus much moneys?" 

Ant. I am as like to call thee so again, 
To spit on thee again, to spurn thee too. 
If thou wilt lend this money, lend it not 
As to thy friends ; for when did friendship take 
A breed of barren metal of his friend? 
But lend it rather to thine enemy, 130 

Who, if he break, thou mayst with better face 
Exact the penalty. 

Shy. Why, look you, how you storm! 

I would be friends with you, and have your love; 
Forget the shames that you have stain'd me with; 
Supply your present wants and take no doit 
Of usance for my moneys, and you'll not hear me : 
This is kind I offer. 

Bass. This were kindness. 

Shy. This kindness will I show: 

Go with me to a notary; seal me there 
^Your single bond; and, in a merry sport, 140 



56 THE MERCHANT OF VENICE [Act I 

If you repay me not on such a day, 

In such a place, such sum or sums as are 

Express'd in the condition, let the forfeit 

Be nominated for an equal pound 

Of your fair flesh, to be cut off and taken 

In what part of your body pleaseth me. 

Ant. Content, 'i faith; I'll seal to such a bond, 
And say there is much kindness in the Jew. 

Bass. You shall not seal to such a bond for me; 
I'll rather dwell in my necessity. 150 

Ant. Why, fear not, man; I will not forfeit it; 
Within these two months, that's a month before 
This bond expires, I do expect return 
Of thrice three times the value of this bond. 

Shy. Father Abram, what these Christians are, 
Whose own hard dealings teaches them suspect 
The thoughts of others! — Pray you, tell me this: 
If he should break his day, what should I gain 
By the exaction of the forfeiture? 
A pound of man's flesh taken from a man 160 

Is not so estimable, profitable neither, 
As flesh of muttons, beefs, or goats. I say, 
To buy his favour, I extend this friendship; 
If he will take it, so; if not, adieu; 
And, for my love, I pray you wrong me not. 

Ant Yes, Shylock, I will seal unto this bond. 

Shy. Then meet me forthwith at the notary's: 
Give him direction for this merry bond, 
And I will go and purse the ducats straight, 
See to my house, left in the fearful guard 170 



Scene III] THE MERCHANT OF VENICE 57 

Of an unthrifty knave, and presently 
I will be with you. 

Ant. Hie thee, gentle Jew. [Exit Shylock 

The Hebrew will turn Christian; he grows kind. 

Bass. I like not fair terms and a villain's mind. 

Ant. Come on; in this there can be no dismay; 
My ships come home a month before the day. 

[Exeunt 



ACT II 

Scene I. Belmont. A room in Portia's house 

Flourish of cornets. Enter the Prince of Morocco, 

and his train; Portia, Nerissa, and others 

attending 

Mor. Mislike me not for my complexion, 
The shadow' d livery of the burnish' d sun, 
To whom I am a neighbour and near bred. 
Bring me the fairest creature northward born, 
Where Phcebus' fire scarce thaws the icicles, 
And let us make incision for your love, 
To prove whose blood is reddest, his or mine. 
I tell thee, lady, this aspect of mine 
Hath fear'd the valiant; by my love, I swear 
The best-regarded virgins of our clime 10 

Have loved it too : I would not change this hue, 
Except to steal your thoughts, my gentle queen. 

Por. In terms of choice I am not solely led 
By nice direction of a maiden's eyes; 



58 THE MERCHANT OF VENICE [Act II 

Besides, the lottery of my destiny 

Bars me the right of voluntary choosing: 

But if my father had not scanted me, 

And hedged me by his wit to yield myself 

His wife who wins me by that means I told you, 

Yourself, renowned prince, then stood as fair 20 

As any comer I have look'd on yet, 

For my affection. 

Mor. Even for that I thank you ; 

Therefore, I pray you, lead me to the caskets' 
To try my fortune. By this scimitar 
That slew the Sophy and a Persian prince 
That won three fields of Sultan Solyman, 
I would outstare the sternest eyes that look, 
Outbrave the heart most daring on the earth, 
Pluck the young sucking cubs from the she-bear, 
Yea, mock the lion when he roars for prey, 30 

To win the lady. But, alas the while! 
If Hercules and Lichas play at dice 
Which is the better man, the greater throw 
May turn by fortune from the weaker hand : 
So is Alcides beaten by his page ; 
And so may I, blind fortune leading me, 
Miss that which one unworthier may attain, 
And die with grieving. 

Por. You must take your chance; 

And either not attempt to choose at all, 
Or, swear before you choose, if you choose wrong 40 
Never to speak to lady afterward 
In way of marriage; therefore be advised. 



Scene I] THE MERCHANT OF VENICE 59 

Mor. Nor will not. Come, bring me unto my chance. 

For. First, forward to the temple; after dinner 
Your hazard shall be made. 

Mor. Good fortune then! 

To make me blest or cursed'st among men. 

[Cornets and exeunt 



Scene II. Venice. A street 
Enter Launcelot 
Laun. Certainly my conscience will serve me to 
run from this Jew my master. The fiend is at 
mine elbow, and tempts me, saying to me, "Gobbo, 
Launcelot Gobbo, good Launcelot," or "good 
Gobbo," or "good Launcelot Gobbo, use your legs, 
take the start, run away." My conscience says, 
"No; take heed, honest Launcelot; take heed, 
honest Gobbo," or, as aforesaid, "honest Launcelot 
Gobbo; do not run; scorn running with thy heels." 
Well, the most courageous fiend bids me pack: 10 
"Via!" says the fiend; "away!" says the fiend; 
"for the heavens, rouse up a brave mind," says the 
fiend, "and run." Well, my conscience, hanging 
about the neck of my heart, says very wisely to 
me, "My honest friend Launcelot, being an honest 
man's son" — or rather an honest woman's son; 
for, indeed, my father did something smack, 
something grow to, he had a kind of taste — well, 
my conscience says, "Launcelot, budge not." 
"Budge," says the fiend. "Budge not," says my 20 



60 THE MERCHANT OF VENICE [Act II 

conscience. "Conscience," say I, "you counsel 
well"; "fiend," say I, "you counsel well": to be 
ruled by my conscience I should stay with the Jew 
my master, who, God bless the mark, is a kind of 
devil ; and, to run away from the Jew I should be 
ruled by the fiend, who, saving your reverence, is 
the devil himself. Certainly the Jew is the very 
devil incarnal; and in my conscience, my con- 
science is but a kind of hard conscience, to offer 
to counsel me to stay with the Jew. The fiend 30 
gives the more friendly counsel: I will run, fiend; 
my heels are at your commandment; I will run. 

Enter Old Gobbo, with a basket 

Gob. Master young man, you, I pray you, which 
is the way to master Jew's? 

Laun. [Aside] heavens, this is my true- 
begotten father! who, being more than sand-blind, 
high-gravel-blind, knows me not: I will try con- 
fusions with him. 

Gob. Master young gentleman, I pray you, 
which is the way to master Jew's? 40 

Laun. Turn up on your right hand at the next 
turning, but, at the next turning of all, on your 
left; marry, at the very next turning, turn of no 
hand, but turn down indirectly to the Jew's house. 

Gob. By God's sonties, 'twill be a hard way to 
hit. Can you tell me whether one Launcelot, that 
dwells with him, dwell with him or no? 

Laun. Talk you of young Master Launcelot? 




Launcelot and Gobbo 



Scene II] THE MERCHANT OF VENICE 61 

[yls^e] Mark me now; now will I raise the 
waters. Talk you of young Master Launcelot? 50 

Gob. No master, sir, but a poor man's son: 
his father, though I say it, is an honest exceeding 
poor man, and, God be thanked, well to live. 

Laun. Well, let his father be what a' will, we 
talk of young Master Launcelot. 

Gob. Your worship's friend and Launcelot, sir. 

Laun. But I pray you, ergo, old man, ergo, I 
beseech you, talk you of young Master Launcelot? 

Gob. Of Launcelot, an 't please your mastership. 

Laun. Ergo, Master Launcelot; talk not of 60 
Master Launcelot, father; for the young gentle- 
man, according to Fates and Destinies, and such 
odd sayings, the Sisters Three, and such branches 
of learning, is indeed, deceased; or, as you would 
say in plain terms, gone to heaven. 

Gob. Marry, God forbid! the boy was the very 
staff of my age, my very prop. 

Laun. [Aside] Do I look like a cudgel or a 
hovel-post, a staff or a prop? [To him] Do you 
know me, father? 70 

Gob. Alack the day, I know you not, young 
gentleman: but, I pray you, tell me, is my boy — 
God rest his soul ! — alive or dead? 

Laun. Do you not know me, father? 

Gob. Alack, sir, lam sand-blind, I know you not. 

Laun. Nay, indeed, if you had your eyes, you 
might fail of the knowing me: it is a wise father 
that knows his own child. Well, old man, I will 



62 THE MERCHANT OF VENICE [Act II 

tell you news of your son: give me your blessing: 
truth will come to light; murder cannot be hid long; 80 
a man's son may; but, in the end, truth will out. 

Gob. Pray you, sir, stand up; I am sure you 
are not Launcelot, my boy. 

Laun. Pray you, let's have no more fooling 
about it, but give me your blessing; I am Launce- 
lot, your boy that was, your son that is, your child 
that shall be. 

Gob. I cannot think you are my son. 

Laun. I know not what I shall think of that: 
but I am Launcelot, the Jew's man; and I am sure 90 
Margery your wife is my mother. 

Gob. Her name is Margery, indeed : I'll be sworn 
if thou be Launcelot, thou art mine own flesh and 
blood. Lord worshipped might he be! .what a 
beard hast thou got ! thou hast got more hair on 
thy chin than Dobbin my fill-horse has on his tail. 

Laun. It should seem, then, that Dobbin's tail 
grows backward; I am sure he had more hair of 
his tail than I have of my face, when I last saw him. 

Gob. Lord, how art thou changed! How dost 100 
thou and thy master agree? I have brought him a 
present. How 'gree you now? 

Laun. Well, well; but for mine own part, as I 
have set up my rest to run away, so I will not rest 
till I have run some ground. My master's a very 
Jew : give him a present ! give him a halter : I am 
famished in his service; you may tell every finger 
I have with my ribs. Father, I am glad you are 



Scene II] THE MERCHANT OF VENICE 63 

come: give me your present to one Master Bas- 
sanio, who, indeed, gives rare new liveries; if I serve no 
not him, I will run as far as God has any ground. — 
rare fortune! here comes the man; — to him, 
father; for I am a Jew if I serve the Jew any longer. 

Enter Bassanio, with Leonardo and other 
followers 

Bass. You may do so; but let it be so hasted 
that supper be ready at the farthest by five of the 
clock. See these letters delivered; put the liveries 
to making; and desire Gratiano to come anon to 
my lodging. [Exit sl Servant 

Laun. To him, father. 

Gob. God bless your worship! 120 

Bass. Gramercy! Wouldst thou aught with me? 

Gob. Here's my son, sir, a poor boy,— 

Laun. Not a poor boy, sir, but the rich Jew's 
man; that would, sir, as my father shall specify, — 

Gob. He hath a great infection, sir, as one 
would say, to serve — 

Laun. Indeed, the short and the long is, I 
serve the Jew, and have a desire, as my father 
shall specify— 

Gob. His master and he (saving your worship's 130 
reverence) are scarce cater-cousins — 

Laun. To be brief, the very truth is, that the 
Jew, having done me wrong, doth cause me, as my 
father, being I hope an old man, shall frutify unto 
you- 



64 THE MERCHANT OF VENICE [Act II 

Gob. I have here a dish of doves that I would 
bestow upon your worship; and my suit is — 

Laun. In very brief, the suit is impertinent to 
myself, as your worship shall know by this honest 
old man; and, though I say it, though old man 140 
yet, poor man, my father. 

Bass. One speak for both. What would you? 

Laun. Serve you, sir. 

Gob. That is the very defect of the matter, sir. 

Bass. I know thee well ; thou hast obtain'd thy suit : 
Shylock thy master spoke with me this day, 
And hath preferr'd thee; if it be preferment 
To leave a rich Jew's service, to become 
The follower of so poor a gentleman. 

Laun. The old proverb is very well parted be- 150 
tween my master Shylock and you, sir: you have 
the grace of God, sir, and he hath enough. 

Bass. Thou speak'st it well. Go, father, with 
thy son. 
Take leave of thy old master, and inquire 
My lodging out. [to his followers] Give him a livery 
More guarded than his fellows' : see it done. 

Laun. Father, in, — I cannot get a service, no; 
I have ne'er a tongue in my head! — Well, if any 
man in Italy have a fairer table which doth offer to 160 
swear upon a book, I shall have good fortune! Go 
to; here's a simple line of life: here's a small trifle 
of wives: alas, fifteen wives is nothing! eleven 
widows and nine maids is a simple coming-in for 
one man; and then to 'scape drowning thrice, and 



Scene II] THE MERCHANT OF VENICE 65 

to be in peril of my life with the edge of a feather- 
bed; here are simple 'scapes. Well, if fortune be 
a woman, she's a good wench for this gear. — Father, 
come; I'll take my leave of the Jew in the twinkling 
of an eye. [Exeunt Launcelot and old Gobbo 170 

Bass. I pray thee, good Leonardo, think on this : 
These things being bought and orderly bestow'd, 
Return in haste, for I do feast to-night 
My best-esteem'd acquaintance: hie thee, go. 

Leon. My best endeavours shall be done herein. 

Enter Gratiano 

Gra. Where is your master? 

Leon. Yonder, sir, he walks. [Exit 

Gra. Signior Bassanio ! 

Bass. Gratiano ! 

Gra. I have a suit to you. 

Bass. You have obtain'd it. 

Gra. You must not deny me: I must go with 
you to Belmont. iso 

Bass. Why, then you must. But hear thee, 
Gratiano : 
Thou art too wild, too rude and bold of voice; 
Parts that become thee happily enough 
And in such eyes as ours appear not faults; 
But where thou art not known, why, there they show 
Something too liberal. Pray thee, take pain 
To allay with some cold drops of modesty 
Thy skipping spirit, lest, through thy wild be- 
haviour, 



66 THE MERCHANT OF VENICE [Act II 

I be misconstrued in the place I go to, 
And lose my hopes. 

Gra. Signior Bassanio, hear me: 190 

If I do not put on a sober habit, 
Talk with respect, and swear but now and then, 
Wear prayer-books in my pocket, look demurely, 
Nay more, while grace is saying, hood mine eyes 
Thus with my hat, and sigh and say "amen", 
Use all the observance of civility, 
Like one well studied in a sad ostent 
To please his grandam, never trust me more. 

Bass. Well, we shall see your bearing. 

Gra. Nay, but I bar to-night; you shall not 
gauge me 20u 

By what we do to-night. 

Bass. No, that were pity; 

I would entreat you rather to put on 
Your boldest suit of mirth, for we have friends 
That purpose merriment. But fare you well; 
I have some business. 

Gra. And I must to Lorenzo and the rest; 
But we will visit you at supper-time. [Exeunt 



Scene III. Venice. A room in Shylock's house 
Enter Jessica and Launcelot 
Jes. I am sorry thou wilt leave my father so: 
Our house is hell, and thou, a merry devil, 
Didst rob it of some taste of tediousness. 
But fare thee well; there is a ducat for thee. 



Scene ill] THE MERCHANT OF VENICE 67 

And, Launcelot, soon at supper shalt thou see 
Lorenzo, who is thy new master's guest: 
Give him this letter; do it secretly; 
And so farewell; I would not have my father 
See me in talk with thee. 

Laun. Adieu! tears exhibit my tongue. Most 10 
beautiful pagan, most sweet Jew! But adieu: 
these foolish drops do somewhat drown my manly 
spirit: adieu! 

Jes. Farewell, good Launcelot, [Exit Launcelot 
Alack, what heinous sin is it in me 
To be ashamed to be my father's child! 
But though I am a daughter to his blood, 
I am not to his manners: O Lorenzo, 
If thou keep promise, I shall end this strife, 
Become a Christian and thy loving wife. [Exit 20 



Scene IV. Venice. A street 
Enter Gratiano, Lorenzo, Salarino, and Salanio 

Lor. Nay, we will slink away in supper-time, 
Disguise us at my lodging, and return 
All in an hour. 

Gra. We have not made good preparation. 

Salar. We have not spoke us yet of torch- 
bearers. 

Solan. 'Tis vile unless it may be quaintly order' d: 
And better, in my mind, not undertook. 

Lor. 'Tis now but four o'clock 5 we have two hours 
To furnish us, 



68 THE MERCHANT OF VENICE [Act II 

Enter Launcelot with a letter 

Friend Launcelot, what's the news? 

Laun. An it shall please you to break up this, 10 
it shall seem to signify. 

Lor. I know the hand: in faith, 'tis a fair 
hand; 
And whiter than the paper it writ'on 
Is the fair hand that writ. 

Gra. Love-news, in faith. 

Laun. By your leave, sir. 

Lor. Whither goest thou? 

Laun. Marry, sir, to bid my old master the Jew 
to sup to-night with my new master the Christian. 

Lor. Hold here, take this : tell gentle Jessica 
I will not fail her; speak it privately; 20 

Go. — Gentlemen, [Exit Launcelot 

Will you prepare you for this masque to-night? 
I am provided of a torch-bearer. 

Salar. Ay, marry, I'll be gone about it straight. 

Salan. And so will I. 

Lor. Meet me and Gratiano 

At Gratiano's lodging some hour hence. 

Salar. 'Tis good we do so. 

[Exeunt Salarino and Salanio 

Gra. Was not that letter from fair Jessica? 

Lor. I must needs tell thee all. She hath directed 
How I shall take her from her father's house; 30 

What gold and jewels she is furnish'd with; 
What page's suit she hath in readiness. 
If e'er the Jew her father come to heaven, 



Scene IV] THE MERCHANT OF VENICE 69 

It will be for his gentle daughter's sake; 

And never dare misfortune cross her foot, 

Unless she do it under this excuse, 

That she is issue to a faithless Jew. 

Come, go with me; peruse this as thou goest: 

Fair Jessica shall be my torch-bearer. [Exeunt 



Scene V. The same. Before Shylock's house 
Enter Shylock and Launcelot 
Shy. Well, thou shalt see, thy eyes shall be thy 
judge, 
The difference of old Shylock and Bassanio: — 
What, Jessica! — thou shalt not gormandize, 
As thou hast done with me; — What, Jessica! — 
And sleep and snore and rend apparel out; — 
Why, Jessica, I say! 

Laun. Why, Jessica! 

Shy. Who bids thee call? I do not bid thee call. 
Laun. Your worship was wont to tell me I could 
do nothing without bidding. 

Enter Jessica 

Jes. Call you? What is your will? 10 

Shy. I am bid forth to supper, Jessica; 
There are my keys. But wherefore should I go? 
I am not bid for love; they flatter me: 
But yet I'll go in hate, to feed upon 
The prodigal Christian. Jessica, my girl, 
Look to my house. I am right loath to go; 



70 T HE MERCHANT OF VENICE [Act II 

There is some ill a-brewing towards my rest, 
For I did dream of money-bags to-night. 

Laun. I beseech you, sir, go; my young master 
doth expect your reproach. 20 

Shy. So do I his. 

Latin. And they have conspired together, — I 
will not say you shall see a masque; but if you do, 
then it was not for nothing that my nose fell a- 
bleeding on Black-Monday last, at six o'clock i' 
the morning, falling out that year on Ash-Wednes- 
day was four year, in the afternoon. 

Shy. What! are there masques? Hear you me, 
Jessica : 
Lock up my doors; and, when you hear the drum 
And the vile squealing of the wry-neck'd fife, 30 

Clamber not you up to the casements then, 
Nor thrust your head into the public street 
To gaze on Christian fools with varnish'd faces; 
But stop my house's ears, I mean my casements; 
Let not the sound of shallow foppery enter 
My sober house. By Jacob's staff, I swear 
I have no mind of feasting forth to-night: 
But I will go. Go you before me, sirrah; 
Say I will come. 

Laun. I will go before, sir. 

Mistress, look out at window, for all this; 40 

There will come a Christian by, 
Will be worth a Jewess' eye. [Exit 

Shy. What says that fool of Hagar's offspring; 
ha? 



m 




^ 



I 




Scene V] THE MERCHANT OF VENICE 71 

Jes. His words were "Farewell, mistress"; 
nothing else. 

Shy. The patch is kind enough, but a huge 
feeder. 
Snail-slow in profit, and he sleeps by day 
More than the wild-cat: drones hive not with me; 
Therefore I part with him, and part with him 
To one that I would have him help to waste 
His borrow'd purse. Well, Jessica, go in; 50 

Perhaps I will return immediately; 
Do as I bid you; shut doors after you: 
Fast bind, fast find; 
A proverb never stale in thrifty mind. [Exit 

Jes. Farewell ; and if my fortune be not crost, 
I have a father, you a daughter, lost. [Exit 



Scene VI. The same 
Enter Gratiano and Salarino masqued 

Gra. This is* the pent-house under which Lorenzo 
Desired us to make stand. 

Salar. His hour is almost past. 

Gra. And it is marvel he out-dwells his hour, 
For lovers ever run before the clock. 

Salar. 0, ten times faster Venus' pigeons fly 
To seal love's bonds new made, than they are wont 
To keep obliged faith unforfeited! 

Gra. That ever holds : who riseth from a feast 
With that keen appetite that he sits down? 
Where is the horse that doth untread again 10 



72 THE MERCHANT OF VENICE [Act II 

His tedious measures with the unbated fire 
That he did pace them first? All things that are 
Are with more spirit chased than enjoy 'd. 
How like a younker or a prodigal 
The scarfed bark puts from her native bay, 
Hugg'd and embraced by the wanton wind! 
How like a prodigal doth she return, 
With over-weather' d ribs, and ragged sails, 
Lean, rent, and beggar'd by the wanton wind! 
Salar. Here comes Lorenzo; more of this here- 
after. 20 
Enter Lorenzo 

Lor. Sweet friends, your patience for my long 
abode; 
Not I, but my affairs, have made you wait: 
When you shall please to play the thieves for wives, 
I'll watch as long for you then. Approach; 
Here dwells my father Jew. — Ho! who's within? 

Enter Jessica, above, in boy's clothes 

Jes. Who are you? Tell me, for more certainty, 
Albeit I'll swear that I do know your tongue. 

Lor. Lorenzo, and thy love. 

Jes. Lorenzo, certain; and my love, indeed; 
For who love I so much? and now who knows 30 

But you, Lorenzo, whether I am yours? 

Lor. Heaven and thy thoughts are witness that 
thou art. 

Jes. Here, catch this casket; it is worth the pains. 
I am glad 'tis night, you do not look on me, 



Scene VI] THE MERCHANT OF VENICE 73 

For I am much ashamed. of my exchange: 
But love is blind, and lovers cannot see 
The pretty follies that themselves commit ; 
For, if they could, Cupid himself would blush 
To see me thus transformed to a boy. 

Lor. Descend, for you must be my torch-bearer. 40 

Jes. What, must I hold a candle to my shames? 
They in themselves, good sooth, are too too light. 
Why, 'tis an office of discovery, love; 
And I should be obscured. 

Lor. So you are, sweet, 

Even in the lovely garnish of a boy. 
But come at once; 

For the close night doth play the runaway, 
And we are stay' d for at Bassanio's feast. 

Jes. I will make fast the doors, and gild myself 
With some more ducats, and be with you straight. 50 

[Exit above 

Gra. Now, by my hood, a Gentile and no Jew. 

Lor. Beshrew me, but I love her heartily: 
For she is wise, if I can judge of her, 
And fair she is, if that mine eyes be true, 
And true she is, as she hath proved herself, 
And therefore, like herself, wise, fair, and true, 
Shall she be placed in my constant soul. 

Enter Jessica, below 

What, art thou come? On, gentlemen; away! 
Our masquing mates by this time for us stay. 

[Exit, with Jessica and Salarino 



74 THE MERCHANT OF VENICE [Act II 

Enter Antonio 

Ant. Who's there? , 60 

Gra. Signior Antonio! 

Ant. Fie, fie, Gratiano! where are all the rest? 
'Pis nine o'clock; our friends all stay for you. 
No masque to-night; the wind is come about; 
Bassanio presently will go aboard: 
I have sent twenty out to seek for you. 

Gra. I am glad on't; I desire no more delight 
Than to be under sail and gone to-night. [Exeunt 

Scene VII. Belmont. A room in Portia's house 

Flourish of cornets. Enter Portia, with the 
Prince of Morocco, and both their trains 

Por. Go, draw aside the curtains, and discover 
The several caskets to this noble prince. 
Now make your choice. 

Mor. The first, of gold, who this inscription 
bears : 

Who chooseth me shall gain what many men desire. 
The second, silver, which this promise carries: 

Who chooseth me shall get as much as he deserves. 
This third, dull lead, with warning all as bJunt: 

Who chooseth me must give and hazard all he hath. 

How shall I know if I do choose the right? 10 

Por, The one of them contains my picture, prince ; 



Scene VII] THE MERCHANT OF VENICE 75 

If you choose that, then I am yours withal. 

Mor. Some god direct my judgement! Let me 
see; 
I will survey the inscriptions back again. 
What says this leaden casket? 

Who chooseth me must give and hazard all he hath. 

Must give — for what? for lead? hazard for lead? 

This casket threatens: men that hazard all 

Do it in hope of fair advantages: 

A golden mind stoops not to shows of dross; 20 

I'll then nor give nor hazard aught for lead. 

What says the silver with her virgin hue? 

Who chooseth me shall get as much as he deserves. 

As much as he deserves? — Pause there, Morocco, 

And weigh thy value with an even hand: 

If thou be'st rated by thy estimation, 

Thou dost deserve enough; and yet enough 

May not extend so far as to the lady: 

And yet to be afeard of my deserving 

Were but a weak disabling of myself. 30 

As much as I deserve! Why, that's the lady: 

I do in birth deserve her, and in fortunes, 

In graces, and in qualities of breeding; 

But more than these, in love I do deserve. 

What if I stray'd no further, but chose here? 

Let's see once more this saying graved in gold: 

Who chooseth me shall gain what many men desire. 



76 THE MERCHANT OF VENICE [Act II 

Why, that's the lady; all the world desires her: 
From the four corners of the earth they come 
To kiss this shrine, this mortal-breathing saint. 40 

The Hyrcanian deserts and ths vasty wilds 
Of wide Arabia are as throughfares now 
For princes to come view fair Portia! 
The watery kingdom, whose ambitious head 
Spits in the face of heaven, is no bar 
To stop the foreign spirits; but they come, 
As o'er a brook, to see fair Portia. 
One of these three contains her heavenly picture. 
Is't like that lead contains her? 'Twere damnation 
To think so base a thought: it were too gross 50 

To rib her cerecloth in the obscure grave. 
Or shall I think in silver she's immured, 
Being ten times undervalued to tried gold? 
sinful thought ! Never so rich a gem 
Was set in worse than gold. They have in Eng- 
land 
A coin that bears the figure of an angel 
Stamped in gold, but that's insculped upon; 
But here an angel in a golden bed 
Lies all within. Deliver me the key; 
Here do I choose, and thrive I as I may! 60 

Por. There, take it, prince; and, if my form lie 
there, 
Then I am yours. [He unlocks the golden casket 

Mor. O hell ! what have we here? 

A carrion death, within whose empty eye 
There is a written scroll! I'll read the writing. 



Scene VII] THE MERCHANT OF VENICE 77 

[Reads] All that glisters is not gold; 

Often have you heard that told: 

Many a man his life hath sold 

But my outside to behold: 

Gilded tombs do worms infold. 

Had you been as wise as bold, 70 

Young in limbs, in judgement old, 

Your answer had not been inscrolVd: 

Fare you well; your suit is cold. 

Cold, indeed; and labour lost: 
Then, farewell, heat; and welcome, frost! 
Portia, adieu! I have too grieved a heart 
To take a tedious leave : thus losers part. 

[Exit, with his train. Flourish of cornets. 

Por. A gentle riddance. Draw the curtains, go. 
Let all of his complexion choose me so. [Exeunt 

Scene VIII. Venice. A street 
Enter Salarino and Salanio 
Salar. Why, man, I saw Bassanio under sail; 
With him is Gratiano gone along; 
And in their ship I am sure Lorenzo is not. 

Satan. The villain Jew with outcries raised the 
duke, 
Who went with him to search Bassanio's ship. 

Salar. He came too late, the ship was under sail ; 
But there the duke was given to understand 
That in a gondola were seen together 
Lorenzo and his amorous Jessica; 



78 THE MERCHANT OF VENICE [Act II 

Besides, Antonio certified the duke 10 

They were not with Bassanio in his ship. 

Solan, I never heard a passion so confused, 
So strange, outrageous, and so variable, 
As the dog Jew did utter in the streets: 
"My daughter! my ducats! my daughter! 
Fled with a Christian! O my Christian ducats! 
Justice! the law! my ducats, and my daughter! 
A sealed bag, two sealed bags of ducats , 
Of double ducats, stolen from me by my daughter! 
And jewels, two stones, two rich and precious 

stones, 20 

Stolen by my daughter! Justice! find the girl! 
She hath the stones upon her, and the ducats." 

Solar, Why, all the boys in Venice follow him, 
Crying his stones, his daughter, and his ducats. 

Solan, Let good Antonio look he keep his day, 
Or he shall pay for this. 

Solar. Marry, well remember'd. 

I reason'd with a Frenchman yesterday, 
Who told me, in the narrow seas that part 
The French and English, there miscarried 
A vessel of our country, richly fraught: 30 

I thought upon Antonio when he told me, 
And wish'd in silence that it were not his. 

Solan, You were best to tell Antonio what you 
hear; 
Yet do not suddenly, for it may grieve him. 

Salar. A kinder gentleman treads not the earth. 
I saw Bassanio and Antonio part: 



Scene VIII] THE MERCHANT OF VENICE 79 

Bassanio told him he would make some speed 

Of his return: he answer'd, "Do not so; 

Slubber not business for my sake, Bassanio, 

But stay the very riping of the time; 40 

And for the Jew's bond which he hath of me, 

Let it not enter in your mind of love; 

Be merry ; and employ your chief est thoughts 

To courtship, and such fair ostents of love 

As shall conveniently become you there:" 

And even there, his eye being big with tears, 

Turning his face, he put his hand behind him, 

And with affection wondrous sensible 

He wrung Bassanio's hand; and so they parted. 

Salan. I think he only loves the world for him. 50 
I pray thee, let us go and find him out, 
And quicken his embraced heaviness 
With some delight or other. 

Salar. Do we so. [Exeunt 

Scene IX. Belmont A room in Portia's house 

Enter Nerissa with a Servitor 
Ner. Quick, quick, I pray thee; draw the 
curtain straight; 
The Prince of Arragon hath ta'en his oath, 
And comes to his election presently. 

Flourish of cornets. Enter the Prince of Arragon, 
Portia, and their Trains 

For. Behold, there stand the caskets, noble 
prince; 



80 THE MERCHANT OF VENICE [Act II 

If you choose that wherein I am contain'd, 
Straight shall our nuptial rites be solemnized: 
But if you fail, without more speech, my lord, 
You must be gone from hence immediately. 

Ar. I am enjoin'd by oath to observe three things : 
First, never to unfold to any one 10 

Which casket 'twas I chose; next, if I fail 
Of the right casket, never in my life 
To woo a maid in way of marriage; 
Lastly, if I do fail in fortune of my choice, 
Immediately to leave you and be gone. 

Por. To these injunctions every one doth swear 
That comes to hazard for my worthless self. 

Ar. And so have I address' d me. Fortune now 
To my heart's hope! Gold, silver, and base lead. 

Who chooseth me mast give and hazard all he hath. 20 

You shall look fairer, ere I give or hazard. 
What says the golden chest? ha! let me see: 

Who chooseth me shall gain what many men desire. 

What many men desire! That "many" may be meant 

By the fool multitude, that choose by show, 

Not learning more than the fond eye doth teach, 

Which pries not to the interior, but, like the martlet, 

Builds in the weather on the outward wall, 

Even in the force and road of casualty. 

I will not choose what many men desire, 30 

Because I will not jump with common spirits 

And rank me with the barbarous multitudes. 

Why, then to thee, thou silver treasure-house; 



Scene IX] THE MERCHANT OF VENICE 81 

Tell me once more what title thou dost bear: 

Who chooseth me shall get as much as he deserves. 

And well said too; for who shall go about 

To cozen fortune, and be honourable 

Without the stamp of merit? Let none presume 

To wear an undeserved dignity. 

O, that estates, degrees, and offices 40 

Were not derived corruptly, and that clear honour 

Were purchased by the merit of the wearer! 

How many then should cover that stand bare! 

How many be commanded that command ! 

How much low peasantry would then be glean'd 

From the true seed of honour! and how much 

honour 
Pick'd from the chaff and ruin of the times 
To be new-varnish'd! Well, but to my choice: 

Who chooseth me shall get as much as he deserves. 

I will assume desert. Give me a key for this, 50 

And instantly unlock my fortunes here. 

[He opens the silver casket 
Por. Too long a pause for that which you find 

there. 
Ar. What's here? the portrait of a blinking idiot, 
Presenting me a schedule! I will read it. 
How much unlike art thou to Portia! 
How much unlike my hopes and my deservings! 

Who chooseth me shall get as much as he deserves. 



82 THE MERCHANT OF VENICE [Act II 

Did I deserve no more than a fool's head? 
Is that my prize? are my deserts no better? 

Por. To offend and judge are distinct offices 60 

And of opposed natures. 

Ar. What is here? 

[Reads] The fire seven times tried this: 

Seven times tried that judgement is, 

That did never choose amiss. 

Some there be that shadows kiss; 

Such have but a shadow's bliss: 

There be fools alive, I wis, 

Silver' d o'er; and so was this. 

I will ever be your head: 

So be gone: you are sped. 70 

Still more fool I shall appear 

By the time I linger here: 

With one fool's head I came to woo, 

But I go away with two. 

Sweet, adieu! I'll keep my oath, 

Patiently to bear my wroth. 

[Exeunt Arragon and train 

Por. Thus hath the candle singed the moth. 
0, these deliberate fools! when they do choose, 
They have the wisdom by their wit to lose. 

Ner. The ancient saying is no heresy, — 80 

Hanging and wiving goes by destiny. 

Por. Come, draw the curtain, Nerissa. 



Scene IX] THE MERCHANT OF VENICE 83 

Enter a Servant 

Serv. Where is my lady? 

Por. Here : what would my lord? 

Serv. Madam, there is alighted at your gate 
A young Venetian, one that comes before 
To signify the approaching of his lord, 
From whom he bringeth sensible regreets, 
To wit, besides commends and courteous breath, 
Gifts of rich value. Yet I have not seen 
So likely an ambassador of love : 90 

A day in April never came so sweet, 
To show how costly summer was at hand, 
As this fore-spurrer comes before his lord. 

Por. No more, I pray thee: I am half afeard 
Thou wilt say anon he is some kin to thee, 
Thou spend'st such high-day wit in praising him. 
Come, come, Nerissa; for I long to see 
Quick Cupid's post that comes so mannerly. 

Ner. Bassanio, lord Love, if thy will it be! 

[Exeunt 



ACT III 

Scene I. Venice. A street 

Enter Salanio and Salarino 

Solan. Now, what news on the Rialto? 
Salar. Why, yet it lives there unchecked that 
Antonio hath a ship of rich lading wrecked on the 



84 THE MERCHANT OF VENICE [Act III 

narrow seas, — the Goodwins I think they call the 
place; a very dangerous flat, and fatal, where the car- 
casses of many a tall ship lie buried, as they say, if 
my gossip Report be an honest woman of her word. 

Salan. I would she were as lying a gossip in 
that as ever knapped ginger or made her neigh- 
bours believe she wept for the death of a third 10 
husband. But it is true, without any slips of pro- 
lixity, or crossing the plain highway of talk, that the 
good Antonio, the honest Antonio, — that I had a 
title good enough to keep his name company ! — 

Salar. Come, the full stop. 

Salan. Ha ! what say 'st thou? Why, the end is, 
he hath lost a ship. 

Salar. I would it might prove the end of his losses. 

Salan. Let me say "amen" betimes, lest the 
devil cross my prayer, for here he comes in the 20 
likeness of a Jew. 

Enter Shylock 

How now, Shylock! what news among the mer- 
chants? 

Shy. You knew, none so well, none so well as 
you, of my daughter's flight. 

Salar. That's certain. I, for my part, knew 
the tailor that made the wings she flew withal. 

Salan. And Shylock, for his own part, knew 
the bird was fledged; and then it is the complexion 
of them all to leave the dam. 30 

Shy. She is damned for it. 



Scene I] THE MERCHANT OF VENICE 85 

Salar. That's certain, if the devil may be her 
judge. 

Shy. My own flesh and blood to rebel! 

Satan. Out upon it, old carrion! rebels it at 
these years? 

Shy. I say my daughter is my flesh and blood. 

Salar. There is more difference between thy 
flesh and hers than between jet and ivory; more 
between your bloods than there is between red 40 
wine and Rhenish. But tell us, do you hear 
whether Antonio have had any loss at sea or no? 

Shy. There I have another bad match: a 
bankrupt, a prodigal, who dare scarce show his 
head on the Rialto; a beggar that was used to 
come so smug upon the mart; let him look to his 
bond: he was wont to call me usurer; let him look 
to his bond: he was wont to lend money for a 
Christian courtesy; let him look to his bond. 

Salar. Why, I am sure, if he forfeit, thou wilt 50 
not take his flesh: what's that good for? 

Shy. To bait fish withal; if it will feed nothing [\ 
else, it will feed my revenge. He hath disgraced \ 
me, and hindered me half a million; laughed at 
my losses, mocked at my gains, scorned my nation, 
thwarted my bargains, cooled my friends, heated 
mine enemies; and what's his reason? I am a 
Jew. Hath not a Jew eyes? hath not a Jew hands, 
organs, dimensions, senses, affections, passions? 
fed with the same food, hurt with the same wea- ed 
pons, subject to the same diseases, healed by the 



86 THE MERCHANT OF VENICE [Act III 

same means, warmed and cooled by the same winter 
and summer, as a Christian is? If you prick us, 
do we not bleed? If you tickle us, do we not laugh? 
if you poison us, do we not die? and if you wrong 
us, shall we not revenge? If we are like you in the 
rest, we will resemble you in that. If a Jew wrong 
a Christian, what is his humility? Revenge. If a 
Christian wrong a Jew, what should his sufferance 
be by Christian example? Why, revenge. The 70 
villany you teach me, I will execute; and it shall 
go hard but I will better the instruction. 

Enter a Servant 
Serv. Gentlemen, my master Antonio is at his 
house and desires to speak with you both. 

Salar. We have been up and down to seek him. 

Enter Tubal 

Salan. Here comes another of the tribe; a 
third cannot be matched, unless the devil himself 
turn Jew. 

[Exeunt Salanio, Salarino, and Servant 

Shy. How now, Tubal ! what news from Genoa? 
hast thou found my daughter? 80 

Tub. I often came where I did hear of her, but 
cannot find her. 

Shy. Why, there, there, there, there! a diamond 
gone, cost me two thousand ducats in Frankfort! 
The curse never fell upon our nation till now; I 
never felt it till now: two thousand ducats in that; 
and other precious, precious jewels. I would my 



Scene I] THE MERCHANT OF VENICE 87 

daughter were dead at my foot, and the jewels in 
her ear ! would she were hearsed at my foot, and the 
ducats in her coffin! No news of them? Why, 90 
so: and I know not what's spent in the search: 
why, thou loss upon loss! the thief gone with so 
much, and so much to find the thief; and no satis- 
faction, no revenge: nor no ill luck stirring but 
what lights o' my shoulders; no sighs but o' my 
breathing; no tears but o' my shedding. 

Tub. Yes, other men have ill luck too. An- 
tonio, as I heard in Genoa,— 

Shy. What, what, what? ill luck, ill luck? 

Tub. Hath an argosy cast away, coming from 100 
Tripolis. 

Shy. I thank God, I thank God! Is it true, is 
it true? 

Tub. I spoke with some of the sailors that 
escaped the wreck. 

Shy. I thank thee, good Tubal: good news, 
good news! ha, ha! Where? in Genoa? 

Tub. Your daughter spent in Genoa, as I heard, 
in one night fourscore ducats. 

Shy. Thou stick'st a dagger in me : I shall never no 
see my gold again. Fourscore ducats at a sitting! 
fourscore ducats! 

Tub. There came divers of Antonio's creditors 
in my company to Venice, that swear he cannot 
choose but break. 

Shy. I am very glad of it: I'll plague him; 
I'll torture him; I am glad of it. 



88 THE MERCHANT OF VENICE [Act III 

Tub. One of them showed me a ring that he 
had of your daughter for a monkey. 

Shy. Out upon her! Thou torturest me, 120 
Tubal : it was my turquoise : I had it of Leah when 
I was a bachelor: I would not have given it for a 
wilderness of monkeys. 

Tub. But Antonio is certainly undone. 

Shy. Nay, that's true, that's very true. Go, 
Tubal, fee me an officer, bespeak him a fortnight 
before. I will have the heart of him, if he forfeit ; 
for, were he out of Venice, I can make what mer- 
chandise I will. Go, Tubal, and meet me at our 
synagogue; go, good Tubal; at our synagogue, 130 
Tubal. [Exeunt 



Scene II. Belmont. A room in Portia's house 
Enter Bassanio, Portia, Gratiano, Nerissa, 
and Attendants 
For I pray you, tarry: pause a day or two 
Before you hazard; for, in choosing wrong, 
I lose your company; therefore forbear awhile. 
There's something tells me, but it is not love, 
I would not lose you; and you know yourself 
Hate counsels not in such a quality. 
But lest you should not understand me well — 
And yet a maiden hath no tongue but thought — 
I would detain you here some month or two 
Before you venture for me. I could teach you 140 
How to choose right, but then I am forsworn; 



Scene II] THE MERCHANT OF VENICE 89 

So will I never be: so may you miss me; 

But if you do, you'll make me wish a sin, 

That I had been forsworn. Beshrew your eyes, 

They have o'erlook'd me and divided me; 

One half of me is yours, the other half yours, 

Mine own, I would say; but if mine, then yours, 

And so all yours. 0, these naughty times 

Put bars between the owners and their rights! 

And so, though yours, not yours. Prove it so, 20 

Let fortune go to hell for it, not I. 

I speak too long; but 'tis to peize the time, 

To eke it and to draw it out in length, 

To stay you from election. 

Bass. Let me choose; 

For, as I am, I live upon the rack. 

Por. Upon the rack, Bassanio! then confess 
What treason there is mingled with your love. 

Bass. None but that ugly treason of mistrust, 
Which makes me fear the enjoying of my love: 
There may as well be amity and life 30 

'Tween snow and fire, as treason and my love. 

Por. Ay, but I fear you speak upon the rack, 
Where men enforced do speak any thing. 

Bass. Promise me life, and I'll confess the truth, 

Por. Well, then, confess and live. 

Bass. Confess and love 

Had been the very sum of my confession: 
happy torment, when my torturer 
Doth teach me answers for deliverance! 
But let me to my fortune and the caskets. 



90 THE MERCHANT OF VENICE [Act III 

For. Away, then! I am lock' d in one of them: 40 
If you do love me, you will find me out. 
Nerissa and the rest, stand all aloof. 
Let music sound while he doth make his choice; 
Then, if he lose, he makes a swan-like end, 
Fading in music : that the comparison 
May stand more proper, my eye shall be the stream 
And watery death-bed for him. He may win; 
And what is music then? Then music is 
Even as the flourish when true subjects bow 
To a new-crowned monarch: such it is, 50 

As are those dulcet sounds in break of day 
That creep into the dreaming bridegroom's ear 
And summon him to marriage. Now he goes, 
With no more presence, but with much more love, 
Than young Alcides, when he did redeem 
The virgin tribute paid by howling Troy 
To the sea-monster: I stand for sacrifice; 
The rest aloof are the Dardanian wives, 
With bleared visages, come forth to view 
The issue of the exploit. Go, Hercules! 60 

Live thou, I live. With much much more dismay 
I view the fight than thou that mak'st the fray. 

Music, whilst Bassanio comments on the caskets to 
himself 

SONG 
Tell me where is fancy bred, 
Or in the heart or in the headf 
How begot, how nourished? 
Reply, reply. 



Scene II] THE MERCHANT OF VENICE 91 

It is engender' d in the eyes, 
With gazing fed; and fancy dies 
In the cradle where it lies. 

Let us all ring fancy's knell; 70 

I'll begin it,— Ding, dong, bell. 
All. Ding, dong, bell. 

Bass. So may the outward shows be least them- 
selves : 
The world is still deceived with ornament. 
In law, what plea so taint ed and corrupt 
But, being season'd with a gracious voice, 
Obscures the show of evil? In religion, 
What damned error, but some sober brow 
Will bless it and approve it with a text, 
Hiding the grossness with fair ornament? 80 

There is no vice so simple but assumes 
Some mark of virtue on his outward parts: 
How many cowards, whose hearts are all as false 
As stairs of sand, wear yet upon their chins 
The beards of Hercules and frowning Mars, 
Who, inward search'd, have livers white as milk; 
And these assume but valour's excrement 
To render them redoubted! Look on beauty, 
And you shall see 'tis purchased by the weight; 
Which therein works a miracle in nature, 90 

Making them lightest that wear most of it : 
So are those crisped snaky golden locks 
Which make such wanton gambols with the wind, 
Upon supposed fairness, often known 
To be the dowry of a second head, 



02 THE MERCHANT OF VENICE [Act III 

The skull that bred them in the sepulchre. 

Thus ornament is but the guiled shore 

To a most dangerous sea; the beauteous scarf 

Veiling an Indian beauty; in a word, 

The seeming truth which cunning times put on 100 

To entrap the wisest. Therefore, thou gaudy gold, 

Hard food for Midas, I will none of thee; 

Nor none of thee, thou pale and common drudge 

'Tween man and man : but thou, thou meagre lead, 

Which rather threatenest than dost promise aught, 

Thy paleness moves me more than eloquence; 

And here choose I: joy be the consequence! 

Por. [Aside] How all the other passions fleet to air, 
As doubtful thoughts and rash-embraced despair 
And shuddering fear, and green-eyed jealousy! no 

love, be moderate; allay thy ecstasy; 
In measure rain thy joy; scant this excess. 

1 feel too much thy blessing : make it less, 
For fear I surfeit! 

Bass. What find I here? 

[Opening the leaden casket 
Fair Portia's counterfeit ! What demi-god 
Hath come so near creation? Move these eyes? 
Or whether, riding on the balls of mine, 
Seem they in motion? Here are sever'd lips, 
Parted with sugar breath : so sweet a bar 
Should sunder such sweet friends. Here in her hairs 120 
The painter plays the spider and hath woven 
A golden mesh to entrap the hearts of men 
Faster than gnats in cobwebs : but her eyes ! — 




Bassanio^ Choice 



Scene II] THE MERCHANT OF VENICE 93 

How could he see to do them? having made one, 
Methinks it should have power to steal both his, 
And leave itself unfurnish'd. Yet look, how far 
The substance of my praise doth wrong this shadow 
In underprizing it, so far this shadow 
Doth limp behind the substance. — Here's the scroll, 
The continent and summary of my fortune. 130 

[Reads] You that choose not by the view, 

Chance as fair, and choose as true! 
Since this fortune falls to you, 
Be content, and seek no new. 
If you be well pleased with this 
And hold your fortune for your bliss, 
Turn you where your lady is 
And claim her with a loving kiss. 

A gentle scroll. — Fair lady, by your leave; 

I come by note, to give and to receive. 140 

Like one of two contending in a prize, 

That thinks he hath done well in people's eyes, 

Hearing applause and universal shout, 

Giddy in spirit, still gazing in a doubt 

Whether those peals of praise be his or no; 

So, thrice-fair lady, stand I, even so; 

As doubtful whether what I see be true, 

Until confirm'd, sign'd, ratified by you. 

For. You see me, lord Bassanio, where I stand, 
Such as I am : though for myself alone 150 

I would not be ambitious in my wish, 
To wish myself much better; yet for you 



94 THE MERCHANT OF VENICE [Act III 

I would be trebled twenty times myself: 

A thousand times more fair, ten thousand times 

More rich; 

That only to stand high in your account, 

I might in virtues, beauties, livings, friends, 

Exceed account : but the full sum of me 

Is sum of — something, which, to term in gross, 

Is an unlesson'd girl, unschool'd, unpractised; 160 

Happ}^ in this, she is not yet so old 

But she may learn ; happier then this, 

She is not bred so dull but she can learn; 

Happiest of all in that her gentle spirit 

Commits itself to yours to be directed, 

As from her lord, her governor, her king. 

Myself and what is mine to you and yours 

Is now converted : but now I was the lord 

Of this fair mansion, master of my servants, 

Queen o'er myself; and even now, but now, 170 

This house, these servants, and this same myself 

Are yours, my lord: I give them with this ring; 

Which when you part from, lose, or give awajr, 

Let it presage the ruin of your love, 

And be my vantage to exclaim on you. 

Bass. Madam, you have bereft me of all words; 
Only my blood speaks to you in my veins: 
And there is such confusion in my powers 
As, after some oration fairly spoke 
By a beloved prince, there doth appear iso 

Among the buzzing, pleased multitude; 
Where every something, being blent together, 



Scene II] THE MERCHANT OF VENICE 95 

Turns to a wild of nothing, save of joy, 
Express'd and not express'd. But when this ring 
Parts from this finger, then parts life from hence; 
O, then be bold to say Bassanio's dead! 

Ner. My lord and lady, it is now our time, 
That have stood by and seen our wishes prosper, 
To cry, good joy: good joy, my lord and lady! 

Gra. My lord Bassanio and my gentle lady, 190 
I wish you all the joy that you can wish; 
For I am sure you can wish none from me: 
And when your honours mean to solemnize 
The bargain of your faith, I do beseech you 
Even at that time I may be married too. 

Bass. With all my heart, so thou canst get a wife. 

Gra. I thank your lordship ; you have got me one. 
My eyes, my lord, can look as swift as yours : 
You saw the mistress, I beheld the maid; 
You loved, I loved; for intermission 200 

No more pertains to me, my lord, than you. 
Your fortune stood upon the caskets there, 
And so did mine too, as the matter falls; 
For wooing here until I sweat again, 
And swearing till my very roof was dry 
With oaths of love, at last, if promise last, 
I got a promise of this fair one here 
To have her love, provided that your fortune 
Achieved her mistress. 

Por. Is this true, Nerissa? 

Ner. Madam, it is, so you stand pleased withal. 210 

Bass. And do you, Gratiano, mean good faith? 



96 THE MERCHANT OF VENICE [Act III 

Gra. Yes, faith, my lord. 

Bass. Our feast shall be much honour' d in 

your marriage. 
Gra. But who comes here? Lorenzo, and his 

infidel? 
What, and my old Venetian friend Salanio? 

Enter Lorenzo, Jessica, and Salanio 

Bass. Lorenzo and Salanio, welcome hither; 
If that the youth of my new interest here 
Have power to bid you welcome. By your leave, 
I bid my very friends and countrymen, 
Sweet Portia, welcome. 

Por. So do I, my lord; 220 

They are entirely welcome. 

Lor. I thank your honour. For my part, my lord, 
My purpose was not to have seen you here; 
But meeting with Salanio by the way, 
He did entreat me, past all saying nay, 
To come with him along. 

Solan. I did, my lord; 

And I have reason for it. Signior Antonio 
Commends him to you. [Gives Bassanio a letter 

Bass. Ere I ope his letter, 

I pray you, tell me how my good friend doth. 

Solan. Not sick, my lord, unless it be in mind; 230 
Nor well, unless in mind: his letter there 
Will show you his estate. 

Gra. Nerissa, cheer yon stranger; bid her wel- 
come. 



Scene II] THE MERCHANT OF VENICE 97 

Your hand, Salanio. What's the news from Venice? 
How doth that royal merchant, good Antonio? 
I know he will be glad of our success; 
We are the Jasons, we have won the fleece. 

Salan. I would you had won the fleece that he 
hath lost ! 

Por. There are some shrewd contents in yon 
same paper, 
That steal the colour from Bassanio's cheek: 240 

Some dear friend dead; else nothing in the world 
Could turn so much the constitution 
Of any constant man. What, worse and worse? 
With leave, Bassanio ; I am half yourself, 
And I must freely have the half of any thing 
That this same paper brings you. 

Bass. O sweet Portia, 

Here are a few of the unpleasant'st words 
That ever blotted paper! Gentle lady, 
When I did first impart my love to you, 
I freely told you, all the wealth I had 250 

Ran in my veins — I was a gentleman; 
And then I told you true : and yet, dear lady, 
Rating myself at nothing, you shall see 
How much I was a braggart. When I told you 
My state was nothing, I should then have told you 
That I was worse than nothing; for, indeed, 
I have engaged myself to a dear friend, 
Engaged my friend to his mere enemy, 
To feed my means. Here is a letter, lady; 
The paper as the body of my friend, 260 



98 THE MERCHANT OF VENICE [Act III 

And every word in it a gaping wound, 
Issuing life-blood. But is it true, Salanio? 
Have all his ventures fail'd? What, not one hit? 
From Tripolis, from Mexico, and England, 
From Lisbon, Barbary, and India? 
And not one vessel 'scape the dreadful touch 
Of merchant-marring rocks? 

Salan. Not one, my lord. 

Besides, it should appear that if he had 
The present money to discharge the Jew, 
He would not take it. Never did I know 270 

A creature that did bear the shape of man, 
So keen and greedy to confound a man : 
He plies the duke at morning and at night, 
And doth impeach the freedom of the state, 
If they deny him justice: twenty merchants, 
The duke himself, and the magnificoes 
Of greatest port, have all persuaded with him; 
But none can drive him from the envious plea 
Of forfeiture, of justice, and his bond. 

Jes. When I was with him, I have heard him 
swear 280 

To Tubal, and to Chus, his countrymen, 
That he would rather have Antonio's flesh 
Than twenty times the value of the sum 
That he did owe him; and I know, my lord, 
If law, authority, and power deny not, 
It will go hard with poor Antonio. 

Por. Is it your dear friend that is thus in 
trouble? 



Scene II] THE MERCHANT OF VENICE 99 

Bass. The dearest friend to me, the kindest 
man, 
The best condition'd and unwearied spirit 
In doing courtesies, and one in whom 290 

The ancient Roman honour more appears 
Than any that draws breath in Italy. 

Por. What sum owes he the Jew? 

Bass. For me three thousand ducats. 

Por. What, no more? 

Pay him six thousand, and deface the bond; 
Double six thousand, and then treble that, 
Before a friend of this description 
Shall lose a hair through Bassanio's fault. 
First go with me to church and call me wife, 
And then away to Venice to your friend; 300 

For never shall you lie by Portia's side 
With an unquiet soul. You shall have gold 
To pay the petty debt twenty times over: 
When it is paid, bring your true friend along. 
My maid Nerissa and myself meantime 
Will live as maids and widows. Come, away! 
For you shall hence upon your wedding-day: 
Bid your friends welcome, show a merry cheer: 
Since you are dear bought, I will love you dear. 
But let me hear the letter of your friend. 319 

Bass, [reads] Sweet Bassanio, my ships have all 
miscarried, my creditors grow cruel, my estate is very 
low, my bond to the Jew is forfeit; and since, in 
paying it, it is impossible I should live, all debts are 
cleared between you and I. If I might but see you 



100 THE MERCHANT OF VENICE [Act III 

at my death— notwithstanding, use your pleasure: 
if your love do not persuade you to come, let not my 
letter. 

Por. love, dispatch all business, and be gone! 

Bass. Since I have your good leave to go away, 320 
I will make haste : but, till I come again, 
No bed shall e'er be guilty of my stay, 
Nor rest be interposer 'twixt us twain. [Exeunt 

Scene III. Venice. A street 
Enter Shylock, Salarino, Antonio, and Gaoler 

Shy. Gaoler, look to him : tell not me of mercy : 
This is the fool that lends out money gratis : 
Gaoler, look to him. 

Ant. Hear me yet, good Shylock. 

Shy. I'll have my bond; speak not against my 
bond: 
I have sworn an oath that I will have my bond. 
Thou call'dst me dog before thou hadst a cause: 
But, since I am a dog, beware my fangs: 
The duke shall grant me justice. I do wonder, 
Thou naughty gaoler, that thou art so fond 
To come abroad with him at his request. 10 

Ant. I pray thee, hear me speak. 

Shy. I'll have my bond; I will not hear thee 
speak: 
I'll have my bond; and therefore speak no more. 
I'll not be made a soft and dull-eyed fool, 
To shake the head, relent, and sigh, and yield 





MEKUIAST OF VEMCE U k 



Scene III] THE MERCHANT OF VENICE 101 

To Christian intercessors. Follow not; 

I'll have no speaking; I will have my bond. [Exit 

Solar. It is the most impenetrable cur 
That ever kept with men. 

Ant. Let him alone: 

I'll follow him no more with bootless prayers. 20 

He seeks my life; his reason well I know: 
I oft deliver' d from his forfeitures 
Many that have at times made moan to me; 
Therefore he hates me. 

Salar. I am sure the duke 

Will never grant this forfeiture to hold. 

Ant. The duke cannot deny the course of law; 
For the commodity that strangers have 
With us in Venice, if it be denied, 
Will much impeach the justice of the state, 
Since that the trade and profit of the city 30 

Consisteth of all nations. Therefore, go: 
These griefs and losses have so 'bated me 
That I shall hardly spare a pound of flesh 
To-morrow to my bloody creditor. 
Well, gaoler, on. — Pray God, Bassanio come 
To see me pay his debt, and then I care not ! [Exeunt 

Scene IV. Belmont. A room in Portia's house 

Enter Portia, Nerissa, Lorenzo, Jessica, 
and Balthasar 

Lor. Madam, although I speak it in your presence, 
You have a noble and a true conceit 



102 THE MERCHANT OF VENICE [Act III 

Of god-like amity; which appears most strongly 
In bearing thus the absence of your lord. 
But if you knew to whom you show this honour, 
How true a gentleman you send relief, 
How dear a lover of my lord your husband, 
I know you would be prouder of the work 
Than customary bounty can enforce you. 

Por. I never did repent for doing good, 10 

Nor shall not now: for in companions 
That do converse and waste the time together, 
Whose souls do bear an equal yoke of love, 
There must be needs a like proportion 
Of lineaments, of manners, and of spirit ; 
Which makes me think that this Antonio, 
Being the bosom lover of my lord, 
Must needs be like my lord. If it be so, 
How little is the cost I have bestow'd 
In purchasing the semblance of my soul 20 

From out the state of hellish cruelty! 
This comes too near the praising of myself; 
Therefore no more of it : hear other things. 
Lorenzo, I commit into your hands 
The husbandry and manage of my house 
Until my lord's return: for mine own part, 
I have toward heaven breathed a secret vow 
To live in prayer and contemplation, 
Only attended by Nerissa here, 

Until her husband and my lord's return: • 30 

There is a monastery two miles off, 
And there we will abide. I do desire you 



Scene IV] THE MERCHANT OF VENICE 103 

Not to deny this imposition, 

The which my love and some necessity 

Now lays upon you. 

Lor. Madam, with all my heart; 

I shall obey you in all fair commands. 

Por. My people do already know my mind, 
And will acknowledge you and Jessica 
In place of lord Bassanio and myself. 
So fare you well till we shall meet again. 40 

Lor. Fair thoughts and happy hours attend on you ! 

Jes. I wish your ladyship all heart's content. 

Por. I thank you for your wish, and am well pleased 
To wish it back on you: fare you well, Jessica. 

[Exeunt Jessica and Lorenzo 
Now, Balthasar, 

As I have ever found thee honest-true, 
So let me find thee still. Take this same letter, 
And use thou all the endeavour of a man 
In speed to Padua; see thou render this 
Into my cousin's hand, Doctor Bellario; 50 

And, look, what notes and garments he doth give thee, 
Bring them, I pray thee, with imagined speed 
Unto the traject, to the common ferry 
Which trades to Venice. Waste no time in words, 
But get thee gone; I shall be there before thee. 

Balth. Madam, I go with all convenient speed. 

[Exit 

Por. Come on, Nerissa; I have work in hand 
That you yet know not of: we'll see our husbands 
Before they think of us. 



104 THE MERCHANT OF VENICE [Act III 

Ner. Shall they see us? 

Por. They shall, Nerissa; but in such a habit 60 
That they shall think we are acccomplished 
With that we lack. I'll hold thee any wager, 
When we are both accoutred like young men, 
111 prove the prettier fellow of the two, 
And wear my dagger with the braver grace; 
And speak, between the change of man and boy 
With a reed voice, and turn two mincing steps 
Into a manly stride; and speak of frays, 
Like a fine-bragging youth, and tell quaint lies, 
How honourable ladies sought my love, 70 

Which I denying, they fell sick and died; 
I could not do withal: then I'll repent, 
And wish, for all that, that I had not kill'd them; 
And twenty of these puny lies I'll tell, 
That men shall swear I've discontinued school 
Above a twelvemonth: I have within my mind 
A thousand raw tricks of these bragging Jacks, 
Which I will practice. 

But come, I'll tell thee all my whole device 
When I am in my coach, which stays for us so 

At the park gate; and therefore haste away, 
For we must measure twenty miles to-day. [Exeunt 

Scene V. The same. A garden 

Enter Launcelot and Jessica 

Laun. Yes, truly; for, look you, the sins of the 
father are to be laid upon the children : therefore, I 



Scene V] THE MERCHANT OF VENICE 105 

promise you, I fear you. I was always plain with 
you, and so now I speak my agitation of the mat- 
ter: therefore be of good cheer, for truly, I think 
you are damned. 

Jes. I shall be saved by my husband; he hath 
made me a Christian. 

Laun. Truly, the more to blame he: we were 
Christians enow before; e'en as many as could 10 
well live, one by another. This making of 
Christians will raise the price of hogs; if we grow 
all to be pork-eaters, we shall not shortly have a 
rasher on the cpals for money. 

Enter Lorenzo 

Jes. I'll tell my husband, Launcelot, what you 
say; here he comes. 

Lor. I shall grow jealous of you shortly, Launce- 
lot, if you thus get my wife into corners. 

Jes. Nay, you need not fear us, Lorenzo. 
Launcelot and I are out. He tells me flatly, there 20 
is no mercy for me in heaven, because I am a Jew's 
daughter: and he says you are no good member of 
the commonwealth, for in converting Jews to 
Christians, you raise the price of pork. 

Lor. How every fool can play upon the word! 
I think the best grace of wit will shortly turn into 
silence and discourse grow commendable in none 
only but parrots. Go in, sirrah; bid them pre- 
pare for dinner. 

Laun. That is done, sir; they have all stomachs. 30 



106 THE MERCHANT OF VENICE [Act III 

Lor. Goodly Lord, what a wit-snapper are you! 
then bid them prepare dinner. 

Laun. That is done, too, sir; only "cover" is 
the word. 

Lor. Will you cover, then, sir? 

Laun. Not so, sir, neither; I know my duty. 

Lor. Yet more quarrelling with occasion ! Wilt 
thou show the whole wealth of thy wit in an in- 
stant? I pray thee, understand a plain man in his 
plain meaning: go to thy fellows; bid them cover 40 
the table, serve in the meat, and we will come in 
to dinner. 

Laun. For the table, sir, it shall be served in; 
for the meat, sir, it shall be covered; for your com- 
ing in to dinner, sir, why, let it be as humours and 
conceits shall govern. [Exit 

Lor. O dear discretion, how his words are suited ! 
The fool hath planted in his memory 
An army of good words; and I do know 
A many fools, that stand in better place, 50 

Garnish'd like him, that for a tricksy word 
Defy the matter. How cheer'st thou, Jessica? 
And now, good sweet, say thy opinion : 
How dost thou like the lord Bassanio's wife? 

Jes. Past all expressing. It is very meet 
The lord Bassanio live an upright life; 
For, having such a blessing in his lady, 
He finds the joys of heaven here on earth; 
And if on earth he do not mean it, then 
In reason he should never come to heaven, go 



Scene V] THE MERCHANT OF VENICE 107 

Why, if two gods should play some heavenly match 
And on the wager lay two earthly women, 
And Portia one, there must be something else 
Pawn'd with the other; for the poor rude world 
Hath not her fellow. 

Lor. Even such a husband 

Hast thou of me as she is for a wife. 

Jes. Nay, but ask my opinion too of that. 

Lor. I will anon; first, let us go to dinner. 

Jes. Nay, let me praise you while I have a 
stomach. 

Lor. No, pray thee, let it serve for table-talk; 70 
Then, howsoe'er thou speak'st, 'mong other things 
I shall digest it. 

Jes. Well, I'll set you forth. [Exeunt 



ACT IV 

Scene I. Venice. A court of justice 

Enter the Duke, the Magnificoes, Antonio, Bassanio, 
Gratiano, Salarino, Salerio, and others 

Duke. What, is Antonio here? 

Ant. Ready, so please your grace. 

Duke. I am sorry for thee; thou art come to answer 
A stony adversary, an inhuman wretch 
Uncapable of pity, void and empty 
From any dram of mercy. 



108 THE MERCHANT OF VENICE [Act IV 

Ant. I have heard 

Your grace hath ta'en great pains to qualify 
His rigorous course; but since he stands obdurate 
And that no lawful means can carry me 
Out of his envy's reach, I do oppose 10 

My patience to his fury; and am arm'd 
To suffer, with a quietness of spirit, 
The very tyranny and rage of his. 

Duke. Go one, and call the Jew into the court. 

Salerio. He is ready at the door: he comes, my 
lord. 

Enter Shylock: 

Duke. Make room, and let him stand before 
our face. 
Shylock, the world thinks, and I think so too, 
That thou but lead'st this fashion of thy malice 
To the last hour of act; and then 'tis thought 
Thou'lt show thy mercy and remorse more strange 20 
Than is thy strange apparent cruelty; 
And where thou now exact' st the penalty, 
Which is a pound of this poor merchant's flesh, 
Thou wilt not only loose the forfeiture, 
But, touch'd with human gentleness and love, 
Forgive a moiety of the principal, 
Glancing an eye of pity on his losses, 
That have of late so huddled on his back, 
Enough to press a royal merchant down 
And pluck commiseration of his state 30 

From brassy bosoms and rough hearts of flint, 
From stubborn Turks and Tartars, never train'd 



Scene I] THE MERCHANT OF VENICE 109 

To offices of tender courtesy. 

We all expect a gentle answer, Jew. 

Shy. I have possess'd your grace of what I 
purpose; 
And by our holy Sabbath have I sworn 
To have the due and forfeit of my bond : 
If you deny it, let the danger light 
Upon your charter and your city's freedom. 
You'll ask me, why I rather choose to have 40 

A weight of carrion flesh than to receive 
Three thousand ducats: I'll not answer that: 
But say it is my humour: is it answer'd? 
What if my house be troubled with a rat, 
And I be pleased to give ten thousand ducats 
To have it baned? What, are you answer'd yet? 
Some men there are love not a gaping pig; 
Some that are mad if they behold a cat; 
And others, at the bagpipe: for affection, 
Mistress of passion, sways it to the mood 50 

Of what it likes or loathes. Now, for your answer: 
As there is no firm reason to be render 'd, 
Why he cannot abide a gaping pig; 
Why he, a harmless necessary cat; 
Why he, a wauling bagpipe; but of force 
Must yield to such inevitable shame 
As to offend, himself being offended; 
So can I give no reason, nor will I not, 
More than a lodged hate and a certain loathing 
I bear Antonio, that I follow thus 60 

A losing suit against him. Are you answer'd? 



110 THE MERCHANT OF VENICE [Act IV 

Bass. This is no answer, thou unfeeling man, 
To excuse the current of thy cruelty. 

Shy. I am not bound to please thee with my answers. 

Bass. Do all men kill the things they do not love? 

Shy. Hates any man the thing he would not kill? 

Bass. Every offence is not a hate at first. 

Shy. What, wouldst thou have a serpent sting 
thee twice? 

Ant. I pray you, think you question with the Jew : 
You may as well go stand upon the beach 70 

And bid the main flood bate his usual height; 
You may as well use question with the wolf 
Why he hath made the ewe bleat for the lamb; 
You may as well forbid the mountain pines 
To wag their high tops, and to make no noise 
When they are fretten with the gusts of heaven; 
You may as well do any thing most hard, 
As seek to soften that — than which what's harder? — 
His Jewish heart: therefore, I do beseech you, 
Make no more offers, use no further means, 80 

But with all brief and plain conveniency 
Let me have judgement and the Jew his will. 

Bass. For thy three thousand ducats here is six. 

Shy. If every ducat in six thousand ducats 
Were in six parts and every part a ducat, 
I would not draw them; I would have my bond. 

Duke. How shalt thou hope for mercy, render- 
ing none? 
. Shy. What judgement shall I dread, doing no wrong? 
You have among you many a purchased slave, 



Scene I] THE MERCHANT OF VENICE 111 

Which, like your asses and your dogs and mules, 90 

You use in abject and in slavish parts, 

Because you bought them : shall I say to you, 

Let them be free, marry them to your heirs? 

Why sweat they under burthens? Let their beds 

Be made as soft as yours, and let their palates 

Be season'd with such viands? You will answer, 

"The slaves are ours": so do I answer you: 

The pound of flesh which I demand of him 

Is dearly bought; 'tis mine, and I will have it: 

If you deny me, fie upon your law! 100 

There is no force in the decrees of Venice. 

I stand for judgement: answer, shall I have it? 

Duke. Upon my power I may dismiss this court, 
Unless Bellario, a learned doctor, 
Whom I have sent for to determine this, 
Come here to-day. 

Salerio. My lord, here stays without 

A messenger with letters from the doctor, 
New come from Padua. 

Duke. Bring us the letters; call the messenger. 

Bass. Good cheer, Antonio! What, man, cour- 
age yet! 110 
The Jew shall have my flesh, blood, bones, and all, 
Ere thou shalt lose for me one drop of blood. 

Ant. I am a tainted wether of the flock, 
Meetest for death: the weakest kind of fruit 
Drops earliest to the ground; and so let me: 
You cannot better be employ'd, Bassanio, 
Than to live still and write mine epitaph. 



112 THE MERCHANT OF VENICE [Act IV 

Enter Nerissa, dressed like a lawyer's clerk 

Duke. Came you from Padua, from Bellario? 

Ner. From both, my lord : Bellario greets your 
grace. [Presenting a letter 

Bass. Why dost thou whet thy knife so earnestly? 1 20 

Shy. To cut the forfeit from that bankrupt there. 

Gra. Not on thy sole, but on thy soul, harsh Jew, 
Thou mak'st thy knife keen; but no metal can, 
No, not the hangman's axe, bear half the keenness 
Of thy sharp envy. Can no prayers pierce thee? 

Shy. No, none that thou hast wit enough to make. 

Gra. 0, be thou damn'd, inexorable dog! 
And for thy life let justice be accused. 
Thou almost mak'st me waver in my faith 
To hold opinion with Pythagoras 130 

That souls of animals infuse themselves 
Into the trunks of men : thy currish spirit 
Govern'd a wolf, who, hang'd for human slaughter, 
Even from the gallows did his fell soul fleet, 
And, whilst thou lay'st in thy unhallow'd dam, 
Infused itself in thee; for thy desires 
Are wolfishness, bloody, starv'd and ravenous. 

Shy. Till thou canst rail the seal from off my 
bond, 
Thou but offend'st thy lungs to speak so loud: 
Repair thy wit, good youth, or it will fall 140 

To cureless ruin. I stand here for law. 

Duke. This letter from Bellario doth commend 
A young and learned doctor to our court. 
Where is he? 



Scene I] THE MERCHANT OF VENICE 113 

Ner. He attendeth here hard by, 

To know your answer, whether you'll admit him. 

Duke. With all my heart. Some three or four 
of you 
Go give him courteous conduct to this place. 
Meantime the court shall hear Bellario's letter. 

Clerk [reads]. 

Your grace shall understand that at the receipt of 
your letter I am very sick; but in the instant that 150 
your messenger came, in loving visitation was with 
me a young doctor of Rome; his name is Balthasar. 
I acquainted him with the cause in controversy 
between the Jew and Antonio the merchant: we 
turned o'er many books together: he is furnished 
with my opinion, which, bettered with his own 
learning, the greatness whereof I cannot enough 
commend, comes with him, at my importunity, to 
fill up your grace's request in my stead. I beseech 
you, let his lack of years be no impediment to let him 160 
lack a reverend estimation, for I never knew so 
young a body with so old a head. I leave him to 
your gracious acceptance, whose trial shall better 
publish his commendation. 

Duke. You hear the learn'd Bellario, what he 
writes : 
And here, I take it, is the doctor come. 

Enter Portia, dressed like a doctor of laws 

Give me your hand. Come you from old Bellario? 
Por. I did, my lord. 



114 THE MERCHANT OF VENICE [Act IV 

Duke. You are welcome: take your place. 

Are you acquainted with the difference 
That holds this present question in the court? 170 

Por. I am informed throughly of the cause. 
Which is the merchant here, and which the Jew? 

Duke. Antonio and old Shylock, both stand forth. 

Por. Is your name Shylock? 

Shy. Shylock is my name. 

Por. Of a strange nature is the suit you follow; 
Yet in such rule that the Venetian law 
Cannot impugn you as you do proceed. — 
[To Antonio] You stand within his danger, do 
you not? 

Ant. Ay, so he says. 

Por. Do you confess the bond? 

Ant. I do. 

Por. Then must the Jew be merciful. 180 

Shy. On what compulsion must I? tell me that. 

Por. The quality of mercy is not strain'd; 
It droppeth as the gentle rain from heaven 
Upon the place beneath : it is twice blest ; 
It blesseth him that gives, and him that takes: 
'Tis mightiest in the mightiest : it becomes 
The throned monarch better than his crown; 
His sceptre shows the force of temporal power, 
The attribute to awe and majesty, 
Wherein doth sit the dread and fear of kings; 190 

But mercy is above this sceptred sway; 
It is enthroned in the hearts of kings, 
It is an attribute to God himself; 



Scene I] THE MERCHANT OF VENICE 115 

And earthly power doth then show likest God's 

When mercy seasons justice. Therefore, Jew, 

Though justice be thy plea, consider this, — 

That in the course of justice none of us 

Should see salvation : we do pray for mercy, 

And that same prayer doth teach us all to render 

The deeds of mercy. I have spoke thus much 200 

To mitigate the justice of thy plea, 

Which if thou follow, this strict court of Venice 

Must needs give sentence 'gainst the merchant there. 

Shy. My deeds upon my head ! I crave the law, 
The penalty and forfeit of my bond. 

Por. Is he not able to discharge the money? 

Bass. Yes, here I tender it for him in the court ; 
Yea, twice the sum : if that will not suffice, 
I will be bound to pay it ten times o'er, 
On forfeit of my hands, my head, my heart: 210 

If this will not suffice, it must appear 
That malice bears down truth. And I beseech you, 
Wrest once the law to your authority: 
To do a great right do a little wrong, 
And curb this cruel devil of his will. 

Por. It must not be ; there is no power in Venice 
Can alter a decree established : 
'Twill be recorded for a precedent, 
And many an error by the same example 
Will rush into the state. It cannot be. 220 

Shy. A Daniel come to judgement ! yea, a Daniel ! 
wise young judge, how do I honour thee! 

Por. I pray you, let me look upon the bond. 



116 THE MERCHANT OF VENICE [Act IV 

Shy. Here 'tis, most reverend doctor, here it is. 

Por. Shylock, there's thrice thy money offer'd 
thee. 

Shy. An oath, an oath, I have an oath in heaven : 
Shall I lay perjury upon my soul? 
No, not for Venice. 

Por. Why, this bond is forfeit; 

And lawfully by this the Jew may claim 
A pound of flesh, to be by him cut off 230 

Nearest the merchant's heart. Be merciful; 
Take thrice thy money; bid me tear the bond. 

Shy. When it is paid according to the tenour. 
It doth appear you are a worthy judge; 
You know the law, your exposition 
Hath been most sound : I charge you by the law, 
Whereof you are a well-deserving pillar, 
Proceed to judgement. By my soul I swear 
There is no power in the tongue of man 
To alter me : I stay here on my bond. 240 

Ant. Most heartily I do beseech the court 
To give the judgement. 

Por. Why, then, thus it is: 

You must prepare your bosom for his knife. 

Shy. O noble judge! excellent young man! 

Por. For the intent and purpose of the law 
Hath full relation to the penalty 
Which here appeareth due upon the bond. 

Shy. 'Tis very true: O wise and upright judge! 
How much more elder art thou than thy looks ! 

Por* Therefore lay bare your bosom. 



Scene I] THE MERCHANT OF VENICE 117 

Shy. Ay, his breast : 250 

So says the bond: doth it not, noble judge? 
"Nearest his heart": those are the very words. 

Por. It is so. Are there balance here to weigh 
the flesh? 

Shy. I have them ready. 

Por. Have by some surgeon, Shylock, on your 
charge, 
To stop his wounds, lest he do bleed to death. 

Shy. Is it so nominated in the bond? 

Por. It is not so expressed; but what of that? 
'Twere good you do so much for charity. 

Shy. I cannot find it; 't is not in the bond. 260 

Por. You, merchant, have you any thing to say? 

Ant. But little; I'm arm'd and well prepared. 
Give me your hand, Bassanio: fare you well! 
Grieve not that I am fallen to this for you; 
For herein Fortune shows herself more kind 
Than is her custom: it is still her use 
To let the wretched man outlive his wealth, 
To view with hollow eye and wrinkled brow 
An age of poverty; from which lingering penance 
Of such misery doth she cut me off. 270 

Commend me to your honourable wife: 
Tell her the process of Antonio's end; 
Say how I loved you, speak me fair in death; 
And, when the tale is told, bid her be judge 
Whether Bassanio had not once a love. 
Repent not you that you shall lose your friend, 
And he repents not that he pays your debt; 



US THE MERCHANT OF VENICE [Act IV 

For if the Jew do cut but deep enough, 
I'll pay it instantly with all my heart. 

Bass. Antonio, I am married to a wife 280 

Which is as dear to me as life itself; 
But life itself, my wife, and all the world, 
Are not with me esteem'd above thy life; 
I would lose all, ay, sacrifice them all 
Here to this devil to deliver you. 

Por. Your wife would give you little thanks for 
that, 
If she were by, to hear you make the offer. 

Gra. I have a wife, whom, I protest, I love; 
I would she were in heaven, so she could 
Entreat some power to change this currish Jew. ' 290 

Ner. 'T is well you offer it behind her back; 
The wish would make else an unquiet house. 

Shy. [Aside] These be the Christian husbands. 
I have a daughter; 
Would any of the stock of Barrabas 
Had been her husband rather than a Christian! — 
[To Portia] We trifle time; I pray thee, pursue 
sentence. 

Por. A pound of that same merchant's flesh is thine ; 
The court awards it, and the law doth give it. 

Shy. Most rightful judge! 

Por. And you must cut this flesh from off his 
breast; 300 

The law allows it, and the court awards it. 

Shy. Most learned judge! A sentence! Come, 
prepare. 



Scene I] THE MERCHANT OF VENICE 119 

Por. Tarry a little; there is something else. 
This bond doth give thee here no jot of blood; 
The words expressly are "a pound of flesh": 
Take then thy bond, take thou thy pound of flesh; 
But, in the cutting of it, if thou dost shed 
One drop of Christian blood, thy lands and goods 
Are, by the laws of Venice, confiscate 
Unto the state of Venice. 3io 

Gra. upright judge! Mark, Jew: learned 
judge! 

Shy. Is that the law? 

Por. Thyself shall see the act: 

For, as thou urgest justice, be assured ' 
Thou shalt have justice, more than thou desirest. 

Gra. O learned judge! Mark, Jew; a learned 
judge! 

Shy. I take this offer, then ; pay the bond thrice, 
And let the Christian go. 

Bass. Here is the money. 

Por. Soft! 
The Jew shall have all justice; soft! no haste: 
He shall have nothing but the penalty. 320 

Gra. Jew! an upright judge, a learned judge! 

Por. Therefore prepare thee to cut off the flesh. 
Shed thou no blood; nor cut thou less nor more 
But just a pound of flesh: if thou cut'st more 
Or less than a just pound, — be it but so much 
As makes it light or heavy in the substance, 
Or the division of the twentieth part 
% Of one poor scruple, nay, if the scale do turn 



120 THE MERCHANT OF VENICE [Act IV 

But in the estimation of a hair, 

Thou diest, and all thy goods are confiscate. 330 

Gra. A second Daniel, a Daniel, Jew! 
Now, infidel, I have thee on the hip. 

Por. Why doth the Jew pause? take thy forfei- 
ture. 

Shy. Give me my principal, and let me go. 

Bass. I have it ready for thee; here it is. 

Por. He hath refused it in the open court; 
He shall have merely justice and his bond. 

Gra. A Daniel, still say I, a second Daniel ! 
I thank thee, Jew, for teaching me that word. 

Shy. Shall I not have barely my principal? 340 

Por. Thou shalt have nothing but the forfeiture, 
To be so taken at thy peril, Jew. 

Shy. Why, then the devil give him good of it! 
I'll stay no longer question. 

Por. Tarry, Jew: 

The law hath yet another hold on you. 
It is enacted in the laws of Venice, 
If it be proved against an alien 
That by direct or indirect attempts 
He seek the life of any citizen, 

The party 'gainst the which he doth contrive 350 

Shall seize one half his goods; the other half 
Comes to the privy coffer of the state; 
And the offender's life lies in the mercy 
Of the duke only, 'gainst all other voice. 
In which predicament, I say, thou stand'st; 
For it appears, by manifest proceeding, 



Scene I] THE MERCHANT OF VENICE 121 

That indirectly and directly too 

Thou hast contrived against the very life 

Of the defendant; and thou hast incurr'd 

The danger formerly by me rehearsed. 360 

Down, therefore, and beg mercy of the duke. 

Gra. Beg that thou mayst have leave to hang 
thyself: 
And yet, thy wealth being forfeit to the state, 
Thou hast not left the value of a cord; 
Therefore thou must be hang'd at the state's charge. 

Duke. That thou shalt see the difference of our 
spirits, 
I pardon thee thy life before thou ask it: 
For half thy wealth, it is Antonio's; 
The other half comes to the general state, 
Which humbleness may drive unto a fine. 370 

Por. Ay, for the state, not for Antonio. 

Shy. Nay, take my life and all ; pardon not that : 
You take my house when you do take the prop 
That doth sustain my house; you take my life 
When you do take the means whereby I live. 

Por. What mercy can you render him, Antonio? 

Gra. A halter gratis ; nothing else, for God's sake. 

A nt. So please my lord the duke and all the cou rt 
To quit the fine for one half of his goods, 
I am content; so he will let me have 380 

The other half in use, to render it, 
Upon his death, unto the gentleman 
That lately stole his daughter: 
Two things provided more, — that, for this favour, 



122 THE MERCHANT OF VENICE [Act IV 

He presently become a Christian; 
The other, that he do record a gift, 
Here in the court, of all he dies possess'd, 
Unto his son Lorenzo and his daughter. 

Duke. He shall do this; or else I do recant 
The pardon that I late pronounced here. 300 

Por. Art thou contented, Jew? what dost thou 
say? 

Shy. I am content. 

Por. Clerk, draw a deed of gift. 

Shy. I pray you, give me leave to go from hence : 
I am not well; send the deed after me 
And I will sign it. 

Duke. Get thee gone, but do it. 

Gra. In christening thou shalt have two god- 
fathers : 
Had I been judge, thou shouldst have had ten more, 
To bring thee to the gallows, not the font. 

[Exit Shylock 

Duke. Sir, I entreat you home with me to dinner. 

Por. I humbly do desire your grace of pardon : 400 
I must away this night toward Padua, 
And it is meet I presently set forth. 

Duke. I am sorry that your leisure serves you 
not. 
Antonio, gratify this gentleman; 
For, in my mind, you are much bound to him. 

[Exeunt Duke and his train 

Bass. Most worthy gentleman, I and my friend 
Have by your wisdom been this day acquitted 



Scene I] THE MERCHANT OF VENICE 123 

Of grievous penalties; in lieu whereof, 

Three thousand ducats, due unto the Jew, 

We freely cope your courteous pains withal. 410 

Ant. And stand indebted, over and above, 
In love and service to you evermore. 

Por. He is well paid that is well satisfied; 
And I, delivering you, am satisfied, 
And therein do account myself well paid : 
My mind was never yet more mercenary. 
I pray you, know me when we meet again : 
I wish you well, and so I take my leave. 

Bass. Dear sir, of force I must attempt you 
further : 
Take some remembrance of us, as a tribute, 420 

Not as a fee: grant me two things, I pray you, 
Not to deny me, and to pardon me. 

Por. You press me far, and therefore I will yield. 
[To Ant.] Give me your gloves, I'll wear them 

for your sake; 
[To Bass.} And, for your love, I'll take this ring 

from you: 
Do not draw back your hand; I'll take no more; 
And you in love shall not deny me this. 

Bass. This ring, good sir, alas, it is a trifle! 
I will not shame myself to give you this. 

Por. I will have nothing else but only this; 430 

And now methinks I have a mind to it. 

Bass. There's more depends on this than on 
the value. 
The dearest ring in Venice will I give you, 



124 THE MERCHANT OF VENICE [Act IV 

And find it out by proclamation: 
Only for this, I pray you, pardon me. 

Por. I see sir, you are liberal in offers : 
You taught me first to beg; and now methinks 
You teach me how a beggar should be answer' d. 

Bass. Good sir, this ring was given me by my wife ; 
And when she put it on, she made me vow 440 

That I should neither sell nor give nor lose it. 

Por. That 'scuse serves many men to save their gifts. 
An if your wife be not a mad-woman 
And know how well I have deserved this ring, 
She would not hold out enemy forever 
For giving it to me. Well, peace be with you! 

[Exeunt Portia and Nerissa 

Ant. My lord Bassanio, let him have the ring; 
Let his deservings and my love withal 
Be valued 'gainst your wife's commandment. 

Bass. Go, Gratiano, run and overtake him; 450 
Give him the ring; and bring him, if thou canst, 
Unto Antonio's house: away! make haste. 

[Exit Gratiano 
Come, you and I will hither presently; 
And in the morning early will we both 
Fly toward Belmont: come, Antonio. [Exeunt 

Scene II. Venice. A street 

Enter Portia and Nerissa 

Por. Inquire the Jew's house out, give him 
this deed 



Scene II] THE MERCHANT OF VENICE 125 

And let him sign it; we'll away to-night 
And be a day before our husbands home. 
This deed will be well welcome to Lorenzo. 

Enter Gratiano 

Gra. Fair sir, you are well o'erta'en: 
My Lord Bassanio upon more advice 
Hath sent you here this ring, and doth entreat 
Your company at dinner. 

Por. That cannot be: 

His ring I do accept most thankfully: 
And so, I pray you, tell him: furthermore, 10 

I pray you, show my youth old Shylock's house. 

Gra. That will I do. 

Ner. Sir, I would speak with you. 

[Aside to Portia] Til see if I can get my hus- 
band's ring, 
Which I did make him swear to keep forever. 

Por. [Aside to Nerissa] Thou mayst, I warrant. 
We shall have old swearing 
That they did give the rings away to men; 
But we'll outface them, and outswear them too. 
[Aloud] Away! make haste; thou know' st where I 
will tarry. 

Ner. Come, good sir; will you show me to this 
house? [Exeunt 



126 THE MERCHANT OF VENICE [Act v 

ACT V 

Scene I. Belmont. Avenue to Portia's house 
Enter Lorenzo and Jessica 

Lor. The moon shines bright: in such a night 
as this, 
When the sweet wind did gently kiss the trees, 
And they did make no noise, in such a night 
Troilus, methinks, mounted the Troyan walls, 
And sigh'd his soul toward the Grecian tents, 
Where Cressid lay that night. 

Jes. In such a night 

Did Thisbe fearfully o'ertrip the dew 
And saw the lion's shadow ere himself, 
And ran dismay' d away. 

Lor. In such a night 

Stood Dido with a willow in her hand 10 

Upon the wild sea banks, and waft her love 
To come again to Carthage. 

Jes. In such a night 

Medea gather'd the enchanted herbs 
That did renew old iEson. 

Lor. In such a night 

Did Jessica steal from the wealthy Jew 
And with an unthrift love did run from Venice 
As far as Belmont, 

Jes. In such a night 

Did young Lorenzo swear he loved her well, 



Scene I] THE MERCHANT OF VENICE 127 

Stealing her soul with many vows of faith, 
And ne'er a true one. 

Lor. In such a night 20 

Did pretty Jessica, like a little shrew, 
Slander her love, and he forgave it her. 

Jes. I would out-night you, did no body come: 
But, hark! I hear the footing of a man. 

Enter Stephano 

Lor. Who comes so fast in silence of the night? 

Steph. A friend. 

Lor. A friend ! what friend? your name, I pray 
you, friend? 

Steph. Stephano is my name ; and I bring word 
My mistress will before the break of day 
Be here at Belmont; she doth stray about 30 

By holy crosses, where she kneels and prays 
For happy wedlock hours. 

Lor. Who comes with her? 

Steph. None but a holy hermit and her maid. 
I pray you, is my master yet return'd? 

Lor. He is not, nor we have not heard from 
him. 
But go we in, I pray thee, Jessica, 
And ceremoniously let us prepare 
Some welcome for the mistress of the house. 

Enter Launcelot 

Laun. Sola, sola! wo, ha, ho! sola, sola! 

Lor. Who calls? 40 



128 THE MERCHANT OF VENICE [Act V 

Laun. Sola! Did you see master Lorenzo? 
Master Lorenzo, sola, sola! 

Lor. Leave hollaing, man; here. 

Laun. Sola! Where? where? 

Lor. Here. 

Laun. Tell him there's a post come from my 
master, with his horn full of good news; my master 
will be here ere morning. [Exit 

Lor. Sweet soul, let's in, and there expect their 
coming. 
And yet no matter : why should we go in? 50 

My friend Stephano, signify, I pray you, 
Within the house, your mistress is at hand : 
And bring your music forth into the air. 

[Exit Stephano 
How sweet the moonlight sleeps upon this bank ! 
Here will we sit and let the sounds of music 
Creep in our ears; soft stillness and the night 
Become the touches of sweet harmony. 
Sit, Jessica. Look how the floor of heaven 
Is thick inlaid with patines of bright gold: 
There's not the smallest orb which thou behold'st go 
But in his motion like an angel sings, 
Still quiring to the young-eyed cherubins: 
Such harmony is in immortal souls; 
But whilst this muddy vesture of decay 
Doth grossly close it in, we cannot hear it. 

Enter Musicians 
Come, ho! and wake Diana with a hymn; 



Scene I] THE MERCHANT OF VENICE 129 

With sweetest touches pierce your mistress' ear 
And draw her home with music. [Music 

Jes. I am never merry when I hear sweet music. 

Lor. The reason is ; your spirits are attentive: 70 
For do but note a wild and wanton herd, 
Or race of youthful and unhandled colts, 
Fetching mad bounds, bellowing and neighing loud, 
Which is the hot condition of their blood; 
If they but hear perchance a trumpet sound, 
Or any air of music touch their ears, 
You shall perceive them make a mutual stand, 
Their savage eyes turn'd to a modest gaze 
By the sweet power of music: therefore the poet 
Did feign that Orpheus drew trees, stones, and 

floods; 80 

Since nought so stockish, hard, and full of rage, 
But music for the time doth change his nature. 
The man that hath no music in himself, 
Nor is not moved with concord of sweet sounds, 
Is fit for treasons, stratagems, and spoils; 
The motions of his spirit are dull as night 
And his affections dark as Erebus: 
Let no such man be trusted. Mark the music. 

Enter Portia and Nerissa 

For. That light we see is burning in my hall. 
How far that little candle throws his beams! 90 

So shines a good deed in a naughty world. 

Ner. When the moon shone, we did not see the 
candle. 



130 THE MERCHANT OF VENICE [Act V 

Por. So doth the greater glory dim the less : 
A substitute shines brightly as a king 
Until a king be by; and then his state 
Empties itself, as doth an inland brook 
Into the main of waters. Music! hark! 

Ner. It is your music, madam, of the house. 

Por. Nothing is good. I see, without respect; 
Methinks it sounds much sweeter than by day. 100 

Ner. Silence bestows that virtue on it, madam. 

Por. The crow doth sing as sweetly as the 
lark, 
When neither is attended; and I think 
The nightingale, if she should sing by day, 
When every goose is cackling, would be thought 
No better a musician than the wren. 
How many things by season season'd are 
To their right praise and true perfection! 
Peace, ho! the moon sleeps with Endymion 
And would not be awaked. [Music ceases 

Lor. That is the voice, no 

Or am I much deceived, of Portia. 

Por. He knows me, as the blind man knows the 
cuckoo, 
By the bad voice. 

Lor. Dear lady, welcome home. 

Por. We have been praying for our husbands* 
welfare, 
Which speed, we hope, the better for our words. 
Are they return'd? 

Lor. Madam, they are not yet; 



Scene I] THE MERCHANT OF VENICE 131 

But there is come a messenger before, 
To signify their coming. 

Por. Go in, Nerissa; 

Give order to my servants that they take 
No note at all of our being absent hence; 120 

Nor you, Lorenzo; Jessica, nor you. 

[A tucket sounds 
Lor. Your husband is at hand; I hear his 
trumpet : 
We are no tell-tales, madam; fear you not. 

Por. This night methinks is but the daylight 
sick; 
It looks a little paler; 't is a day, 
Such as the day is when the sun is hid. 

Enter Bassanio, Antonio, Gratiano, and 
their followers 

Bass. We should hold day with the Antipodes, 
If you would walk in absence of the sun. 

Por. Let me give light, but let me not be light; 
For a light wife doth make a heavy husband, 130 

And never be Bassanio so for me; 
But God sort all ! You are welcome home, my lord. 

Bass. I thank you, madam. Give welcome to 
my friend. 
This is the man, this is Antonio, 
To whom I am so infinitely bound. 

Por. You should in all sense be much bound 
to him, 
For, as I hear, he was much bound for you, 



132 THE MERCHANT OF VENICE [Act V 

Ant. No more than I am well acquitted of. 

Por. Sir, you are very welcome to our house: 
It must appear in other ways than words, 140 

Therefore I scant this breathing courtesy. 

Gra. [to Ner.] By yonder moon I swear 3-011 do 
me wrong; 
In faith, I gave it to the judge's clerk. 

Por. A quarrel, ho, already! what's the matter? 

Gra. About a hoop of gold, a paltry ring 
That she did give me; whose posy was 
For all the world like cutler's poetry 
Upon a knife, "Love me, and leave me not." 

Ner. What talk you of the posy or the value? 
You swore to me, when I did give it you, 150 

That you would wear it till your hour of death, 
And that it should lie with you in your grave : 
Though not for me, yet for your vehement oaths, 
You should have been respective and have kept it. 
Gave' it a judge's clerk! No, God's my judge, 
The clerk will ne'er wear hair on 's face that had it. 

Gra. He will, an if he live to be a man. 

Ner. Ay, if a woman live to be a man. 

Gra. Now, by this hand, I gave it to a youth, 
A kind of boy, a little scrubbed boy, 160 

No higher than thyself, the judge's clerk; 
A prating boy, that begg'd it as a fee; 
I could not for my heart deny it him. 

Por. You were to blame, I must be plain with 
you, 
To part^o slightly with your wife's first gift; 



Scene I] THE MERCHANT OF VENICE 133 

A thing stuck on with oaths upon your finger 

And so riveted with faith unto your flesh. 

I gave my love a ring and made him swear 

Never to part with it; and here he stands; 

I dare be sworn for him, he would not leave it 170 

Nor pluck it from his finger, for the wealth 

That the world masters. Now, in faith, Gratiano, 

You give your wife too unkind a cause of grief; 

An't were to me, I should be mad at it. 

Bass. [Aside] Why, I were best to cut my left 
hand off 
And swear I lost the ring defending it. 

Gra. My lord Bassanio gave his ring away 
Unto the judge that begg'd it and indeed 
Deserved it too; and then the boy, his clerk 
That took some pains in writing, he begg'd mine: 180 
And neither man nor master would take aught 
But the two rings. 

Por. What ring gave you, my lord? 

Not that, I hope, which you received of me. 

Bass. If I could add a lie unto a fault, 
I would deny it; but you see my finger 
Hath not the ring upon it ; it is gone. 

Por. Even so void is your false heart of truth. 

Bass. Sweet Portia, 

If you did know to whom I gave the ring, 
If you did know for whom I gave the ring, 190 

And would conceive for what I gave the ring, 
And how unwillingly I left the ring, 
When naught would be accepted but the ring, 



134 THE MERCHANT OF VENICE [Act V 

You would abate the strength of your displeasure. 

Por. If you had known the virtue of the ring, 
Or half her worthiness that gave the ring, 
Or your own honour to contain the ring, 
You would not then have parted with the ring. 
What man is there so much unreasonable, 
If you had pleased to have defended it 200 

With any terms of zeal, wanted the modesty 
To urge the thing held as a ceremony? 
Nerissa teaches me what to believe; 
I'll die for't but some woman had the ring. 

Bass. No, by mine honour, madam, by my soul, 
No woman had it, but a civil doctor, 
Which did refuse three thousand ducats of me, 
And begg'd the ring; the which I did deny him, 
And suffer'd him to go displeased away; 
Even he that did uphold the very life 210 

Of my dear friend. What should I say, sweet lady? 
I was enforced to send it after him; 
I was beset with shame and courtesy; 
My honour would not let ingratitude 
So much besmear it. Pardon me, good lady; 
For, by these blessed candles of the night, . 
Had you been there, I think, you would have begg'd 
The ring of me to give the worthy doctor. 

Por. Let not that doctor e'er come near my house : 
Since he hath got the jewel that I loved, 220 

And that which you did swear to keep for me, 
I will become as liberal as you: 
I'll not deny him any thing I have. 



Scene I] THE MERCHANT OF VENICE 135 

Ant. I am the unhappy subject of these quarrels. 

Pot. Sir, grieve not you; you are welcome not- 
withstanding. 

Bass. Portia, forgive me this enforced wrong; 
And, in the hearing of these many friends, 
I swear to thee, even by thy own fair eyes, 
Wherein I see myself, — 

Por. Mark you but that! 

In both my eyes he doubly sees himself: 230 

In each eye, one: swear by your double self, 
And there's an oath of credit. 

Bass. Nay, but hear me. 

Pardon this fault, and by my soul I swear 
I never more will break an oath with thee. 

Ant., I once did lend my body for his wealth; 
Which, but for him that had your husband's ring, 
Had quite miscarried : I dare be bound again, 
My soul upon the forfeit, that your lord 
Will never more break faith advisedly. 

Por. Then you shall be his surety. Give him 
this; 240 

And bid him keep it better than the other. 

Ant. Here, lord Bassanio ; swear to keep this ring. 

Bass. By heaven, it is the same I gave the 
doctor! 

Por. You are all amazed: 
Here is a letter; read it at your leisure; 
It comes from Padua, from Bellario: 
There you shall find that Portia was the doctor; 
Nerissa there her clerk: Lorenzo here 



136 THE MERCHANT OF VENICE [Act V 

Shall witness I set forth as soon as you 

And even but now return'd; I have not yet 250 

Enter'd my house.— Antonio, you are welcome. 

And I have better news in store for you 

Than you expect : unseal this letter soon ; 

There you shall find three of your argosies 

Are richly come to harbour suddenly: 

You shall not know by what strange accident 

I chanced on this letter. 

Ant. I am dumb. 

Bass. Were you the doctor, and I knew you not? 

Ant. Sweet lady, you have given me life and 
living; 
For here I read for certain that my ships 260 

Are safely come to road. 

Por. How now, Lorenzo! 

My clerk hath some good comforts too for you. 

Ner. Ay, and I'll give them him without a fee.— 
There do I give to you and Jessica, 
From the rich Jew, a special deed of gift, 
After his death, of all he dies possessed of. 

Lor. Fair ladies, you drop manna in the way 
Of starved people. 

Por. It is almost morning, 

And yet I am sure you are not satisfied 
Of these events at full. Let us go in; 270 

And charge us there upon inter'gatories, 
And we will answer all things faithfully. 

Gra. Well, while I live I'll fear no other thing 
So sore as keeping safe Nerissa's ring. [Exeunt 



NOTES 

Authorities Quoted: 
Furness, The Variorum Shakespeare; Johnson, Edition of 
Shakespeare; Staunton, Edition of Shakespeare; Steevens, 
Edition of Shakespeare; Knight, Edition of Shakespeare; 
Coryat, Crudities; Bailey, The Received Text; Halivvell, 
Folio Edition; Hunter, New Illustrations; Lord Campbell 
Shakespeare's Legal Acquirements; Mrs. Jameson, Character- 
istics of Women. 

ACT I 

Scene I 

The Scene. Furness, in The Variorum Shakespeare, says: 
"In Charles Kean's fine revival of the play at the Princess's 
Theatre in 1858, the curtain draws upon a scene laid in Saint 
Mark's Place, with various groups of Nobles, Citizens, Mer- 
chants, Foreigners, Water-Carriers, Flower-Girls, etc., passing 
and repassing, while a Procession of the Doge in state crosses' 
the Square." 

1. Sooth. Truth. The expression in sooth is so used else- 
where, as in Love's Labour Lost (V. 2. 586). 

5. I am to learn. I have to learn, since I do not know. 

8. Ocean. Pronounce in three syllables. 

9. Argosies. Huge merchant vessels. Recall the story of 
Jason and his ship Afgo. Murray, however, thinks the word 
argosies is derived from the Italian word ragusea, meaning 
vessel. 

11. Pageants. In early England, the Mystery Plays were 
called pageants. The same name was applied to the movable 
stage that was wheeled about from town to town. Shakespeare 
may have intended to picture the ships as resembling these 
theatrical platforms. Cf. Midsummer Night's Dream (III. 
2. 114): "Shall we their fond pageants see?" Love's Labour 
Lost (V. 1. 118): "Or show, or pageant, or antique, or fire- 
work." 

12. Traffickers. Traders. 
15. Forth. Abroad. 

17. Still. Constantly. Cf. Hamlet (II. 2. 42) : "Thou still 
hast been the father of good news." 

137 



138 THE MERCHANT OF VENICE 

1 19. Roads. Places where ships may ride at anchor at some 
distance from the shore. Cf. V. 26: "are safely come to road." 

27. Andrew. A valuable trading ship, probably so named 
from the Genoese admiral, Andrea Doria. 

28. Vailing. Lowering. Cf . Venus and Adonis (956) : "She 
vailed her eyelids." 

36. Thought. Anxiety. Compare the Biblical use of the 
word, in Matt. vi. 34: "Take no thought (i.e., anxious thought) 
for the morrow." 

42. Bottom. Ship. Cf. Twelfth Night (V. 60): "The most 
noble bottom of our fleet." 

50. Janus. The god from whom was derived the name of 
the first month. He was represented as two-headed, one head 
facing forward and the other backward. Explain the appropri- 
ateness of the name January. 

52. Peep through their eyes. Peep, because their faces are 
wrinkled in laughter so that the eyes are not wide open. 

54. Other. This is frequently used by Shakespeare in a 
plural sense. Cf. Macbeth (I. 3. 14): "I myself have all the 
other." 

56. Nestor. One of the Greek heroes in the Trojan War; 
noted for his age and wisdom. 

61. Prevented. Anticipated. Cf. Ps. cxix. 148: "Mine eyes 
prevent the night-watches." 

67. Exceeding strange. Exceedingly distant, reserved. Cf. 
The Comedy of Errors (II. 2. 112): "Look strange and frown." 
Shakespeare uses exceeding as an adverb. 

74. Respect upon. Serious regard for. Cf. II. 2. 192. 

79. Play the fool. Act the part of fool in the play. In the 
early-time plays, this was the popular part. Name the jesters 
in some other of Shakespeare's plays. 

81. Liver. See Introduction, p. 21, 

82. My heart cool. See Introduction, p. 21. 
85. Jaundice. See Introduction, p. 22. 

89. Cream and mantle. Gather a cover (as scum) on the 
surface. 

90. Entertain. Maintain. Cf. Measure for Measure (III. 
1. 75): "I quake lest thou a feverish life should entertain." 
Shakespeare follows the practice of the writers of his time when 
he omits who before the verb do. 

91. Opinion. Reputation. Cf. line 102. 

92. Conceit. Thought, understanding. In this play the 
word has three shades of meaning : (1) Conception, idea. "You 
have a noble and true conceit of god-like amity." III. 4. 2. 
(2) Fanciful thought or device. "Let it be as humours and con- 



NOTES: ACT I. SCENE I 139 

ceits shall govern." III. 5. 45. (3) Mental faculty, comprising 
the understanding as well as the imagination (as here used). 

93. Sir Oracle. In ancient Greece the oracle was regarded 
as a sacred form of prophecy, whose word was not to be disputed. 
Look up the subject in an encyclopedia or an ancient history book. 

98-99. In the Bible (Matt. v. 22) is the warning of severe pun- 
ishment to be visited upon one who calls his brother "fool". 
This passage evidently alludes to it. 

102. Fool gudgeon. A stupid fish. Izaak Walton speaks 
of the gudgeon as a fish that is easily caught with any bait. 
Compare the use of "fool" as an adjective in II. 9. 25. 

108. Moe. More. 

110. Gear. Stuff. Cf. II. 2. 168. 

116. Shall. Skakespeare often uses shall in all three per- 
sons of the future tense. 

124. Something. Here used adverbially, meaning somewhat. 
Swelling port. Pretentious bearing. 

125. Grant continuance. Shakespeare omits of after this 
expression. 

126. Make moan to be abridged. Complain of being cut off 
from. 

130. Gaged. Engaged, or pledged. 

136. Still. Constantly. Cf. line 17. 

137. Eye. Range, sight. 

141. His. Its. In the time of Shakespeare used as the pos- 
sessive of it. 

Flight. The range of the arrow. 

142. Advised. Careful, deliberate. Cf. Richard III. (II. 
1. 107): "Bade me be advised." 

143. Forth. Out. Cf. Comedy of Errors (I. 2. 37): "To 
find his fellow forth." 

144. Childhood proof. Proof tested by experiment in one's 
childhood. 

148. Self. Same. Cf. Twelfth Night (I. 1. 39): "Fill'd her 
sweet perfections with one self king." 

150. Or — or. In English to-day we should use either — or. 

To find. Shakespeare uses the infinitive where to day 
we would use a subordinate clause. Here it might be expressed: 
that I shall find. 

154. Circumstance. Circumlocution, or a roundabout way 
of expressing oneself. Cf. Second part of Henry VI. (I. 1. 105) : 
"What means this passionate discourse; this peroration with 
such circumstance? " 

156. Making question of my uttermost. Doubting that I 
will use all within my means to aid you. 



140 THE MERCHANT OF VENICE 



160. Prest. Ready. 

161. Richly left. Who has been left a rich inheritance. 
163. Sometimes. Sometime. Shakespeare uses both words 

in the same sense, relating to some time in the past. Cf. Rich- 
ard II (I. 2. 54): "Thy sometimes brother's wife." 

165. Nothing undervalued. In no way inferior. 

166. Cato's daughter, Brutus' Portia. In the play Julius 
Caesar we find this Portia. She is represented as a woman of 
tender affection, yet she displayed great restraint and Stoic 
dignity as did her husband. 

170-172. A golden fleece . . . Colchos' strand . . . Jasons. 
In mythology we read of Jason's organizing the Argonautic 
expedition to go in search of the Golden Fleece. This was hang- 
ing on a tree in Colchis (not Colchos, as here), which was on the 
Black Sea. With the aid of the witch Medea, Jason succeeded 
in his quest. 

175. Presages. Supply the pronoun which before this 
word. See the note on line 90. Where should the accent come 
in the word presages? 

Thrift. Success. 

178. Commodity. Property. Also used in this play (III. 
3. 27) to mean convenience. 

181. Racked. Stretched. Cf. the noun in use III. 2. 25. 

183. Presently. Immediately. It is so used in five other 
instances in this play. The modern meaning, shortly, is found 
in I. 3. 171 and in II. 6. 65. 

184. Question. Doubt, Cf. line 156. 

185. Trust. Credit. The line means that the money is 
to be obtained either on Antonio's credit as a business man or 
on the basis of personal friendship. 

Scene II 

The Scene. Mrs. Jameson, in Characteristics of Women 
(p. -72), says: "We are not told expressly where Belmont is 
situated; but as Bassanio takes ship to go thither from Venice, 
and as we find Portia afterwards ordering horses from Belmont 
to Padua, we will imagine Portia's hereditary palace as standing 
on some lovely promontory between Venice and Trieste, over- 
looking the blue Adriatic, with the Friuli Mountains or the 
Euganian hills for its background." 

1. Troth. Truth. The word is a variant of the word truth, 
and in this passage it is not used as an antonym of falsehood but 
as meaning faithfulness. 

7-8. Notice the play on words in the double use of the word 



NOTES: ACT I. SCENE II 141 

mean. As an adjective, in the expression mean happiness, the 
word means insignificant, trivial; in the phrase in the mean it 
means middle. 

13. Chapels, churches. A chapel is a small church or a 
small building attached to a church. It originated in the word 
capella, meaning cap, the story being that St. Martin's hat used 
to be carried into war by the French kings as a sacred relic, or 
capella, and kept in a tent. The tent as a sacred place came to 
be called a capella. From the word chapel comes what name for a 
priest in charge of such a place? 

18. Brain, blood. To Shakespeare the brain stands for the 
reasoning faculties and the blood for the emotions or passions. 

24. Will. Explain the play on words. 

26. Nor refuse none. Notice the double negative, a gram- 
matical error today, but frequently found in Shakespeare. 

32. One who shall rightly love. Supply by before the word 
one. 

37. Level at. Guess. Cf. Antony and Cleopatra (V. 2. 
339): "She leveled at our purposes." 

40. Makes it a great appropriation. Takes it to his own 
credit to the exclusion of others. 

43. County Palatine. Count Palatine. This title was 
originally applied to those in imperial service in the court of 
the Roman empire. Later it was the title of the highest judi- 
cial officer under the German kings. After the Norman Con- 
quest it was applied to the English county rulers of Durham, 
Chester, and Lancaster. They stood at the head of the feudal 
system of land tenure in their counties. Johnson says: "The 
Count here mentioned was, perhaps, Albertus a Lasco, a Pol- 
ish Palatine, who visited England in our author's time, was 
eagerly caressed and splendidly entertained; but running in debt, 
at last stole away, and endeavored to repair his fortune by en- 
chantment." 

45. An you will not have me, choose. Perhaps this means: 
"If you will not have me, suit yourself." 

47. The weeping philosopher. Heraclitus, the Greek, was 
the "weeping philosopher"; Democritus was the "laughing 
philosopher". 

48. Had rather. Observe that Shakespeare uses this ex- 
pression, which has excellent support in modern times, although 
many defend the use of would rather. 

52. By. Concerning. 

59. Throstle. Song thrush. 

A-capering. A is the shortened form of the old prepo- 
sition an, or of the modern preposition on. 



142 THE MERCHANT OF VENICE 

68. Come into court, i.e. to witness for me. 

70. Proper. Handsome. But in III. 2. 46 it means suitable. 

72. Suited. Dressed. But it has the modern meaning of 
adapted in III. 5. 47: "How his words are suited." 

Doublet. A close-fitting coat or jacket. So called from 
the fact that it was heavily lined. 

73. Round hose. Coverings for the trunk and legs. 
Bonnet. A man's cap. We are familiar with its use in Scot- 
land. 

80. The Frenchman became his surety. The Scotch and 
French had for many years been under an alliance. 

81 . Sealed under for another. Put his signature and seal 
below that of the Scotchman. This was his guarantee that he 
would "become his surety". 

88. An the worst fall. If the worst befall. 
94. Contrary. Adverse, unfavorable. 

103. Some other sort. Some other way. 

104. Imposition. Injunction, order. Cf. use in III. 4. 33. 

105. Sibylla. In Ovid's story, the sibyl of Cumae was prom- 
ised by Apollo that she should live as many years as she held 
grains of sand in her hand. 

107. This parcel of wooers are. Notice what we to-day 
would call a grammatical error in using here a plural verb. 
Parcel means company. Cf. Love's Labour Lost (V. 2. 160): "A 
holy parcel of the fairest dames." 

123. The four strangers. Reference has been made in the 
text to six rather than four. The error has not been satisfactorily 
explained, although it has been suggested that later additions 
were made to the original manuscript. 

126. To-night. The next night. Also used with this mean- 
ing in II. 2. 173 and in five other places. But in II. 5. 18 it 
means last night. 

129. Condition. Disposition. Cf. Othello (IV. 1. 210): "Of so 
gentle a condition." 

131. Shrive. Minister confession and absolution to. 

133. Whiles. An old adverbial form. 

Scene III 

1 . Ducat. A Venetian coin, said by Coryat, who traveled 
in Italy in 1608, to be worth 4 s. 8 d. This would correspond 
roughly to our dollar. In origin, it means a piece of money 
coined by a duke. 

7. May you stead me? Can you assist me? Notice the 
use of may for can. In early days, may signified ability, and can 
was used to mean to be skilled. 



NOTES: ACT I. SCENE III 143 

Pleasure. Here used as what part of speech? 
12. Good, i.e., of good financial standing. Bassanio's reply 
would indicate that he misunderstood Shylock and thought 
he referred to Antonio's character. Consider our use of the 
word goods. 

17. In supposition. In a doubtful state. This was because 
they were subject to the perils of the sea, where all his ships 
now were. 

18. Tripolis. A Syrian seaport, not the city in northern 
Africa. 

19. The Indies. The West Indies. 

20. The Rialto. The Exchange in Venice. Formerly the 
name was applied to the largest island in Venice, on the Grand 
Canal. Then it came to be the name of the commercial Ex- 
change, located on the island. Cory at thus describes it: "The 
Rialto, which is at the farthest side of the bridge as you come 
from St. Mark's, is a most stately building, being the Exchange 
of Venice, where the Venetian gentlemen and the merchants 
do meet twice a day, betwixt eleven and twelve of the clock 
in the morning, and betwixt five and six of the clock in the 
afternoon. This Rialto is of a goodly height, built all of brick 
as the palaces are." The famous Rialto bridge was not built 
until 1591, and that of today is of more recent origin. 

21 . Squandered. Scattered. 

34. Nazarite. Here used for Nazarene, i. e. an inhabitant 
of Nazareth. 

40. Fawning publican. The publicans, under the Roman 
government, were tax collectors in Syria and the Roman prov- 
inces. Shylock well knew that the term fawning applied illy 
to Antonio. But he used it in a contemptuous sense, borrow- 
ing the idea from ancient times, when the publicans were espe- 
cially disliked by the Jews. 

41 . For. Because. 

44. Usance. Interest. In Shakespeare's time usance, usury, 
and interest meant the same thing. The charging of interest 
was regarded as disreputable. See Introduction, p. 22. 

45. Upon the hip. A term used in wrestling. 
50. Interest. See note on usance, line 44. 
52. Of. Used by Shakespeare to mean about. 

56. Tubal. Cf. Gen. x. 2., where Tubal is named as a son 
of Japheth. 

58. Rest you fair. Probably means God give you fair for- 
tune. Cf. As You Like It (V. 1. 65): "God rest-you merry! " 

61. Excess. Interest; whatever is beyond the principal 
loaned. 



144 THE MERCHANT OF VENICE 

62. Ripe wants. Matured wants; ripe in the sense that fruit 
is ripe, in not admitting of delay in picking. 

63. Possess'd. Informed. Cf. IV. 1. 35: "I have possess'd 
your grace of what I purpose." 

77. Were compromised. Had agreed. 

78. Eanlings. Lambs just born. 

Pied. Spotted. Cf. Milton's U Allegro, line 75: "Meadows 
trim, with daisies pied." 

79. Fall. Bring forth. Here used as a transitive verb. 

80. Pilled. Peeled. The story of Jacob is in Gen. xxx. 
Shylock resorts to Scripture as his defense, but misses his point, 
for Jacob's trick upon the unsuspecting Laban had nothing to 
do with their mutual agreement as to profits, and therefore is 
not to be compared with the charging of interest, or usance, which 
is the matter under debate. Antonio appreciates this in his 
reply, and in his later remark: "The devil can cite Scripture for 
his purpose." (line 93). 

93. The devil can cite Scripture. Cf. Matt. iv. 6, where 
the devil is represented as quoting from one of the Psalms. 
(Ps. xci. 11, 12.) 

94. Producing holy witness. Quoting sacred authority. 
96. What a goodly outside falsehood hath. Dr. Johnson 

considered falsehood as here used to mean dishonesty. This 
applies better to the situation. Does it not make the aphor- 
ism more true to life? 

100. Beholding Beholden. 

107. Gaberdine. Along, coarse frock. It is not to be under- 
stood that it is here referred to as a distinctively Jewish garment, 
for in those days no distinction existed between the dress of the 
Jewish and Christian merchants, except that the Jews wore a 
yellow bonnet. Cf. the use in The Tempest (II. 2. 40) where 
Trinculo crawls under Caliban's gaberdine. 

124. Moneys. Perhaps the plural is here used because Shy- 
lock is quoting the word as used by Antonio. 

129. Breed. Money bred from the principal, i.e. interest. 

131. Who, if he break. There is no verb following the subject 
who. Who and he may be regarded as one subject, separated 
by a clause. 

133. I would be friends with you. This is an idiomatic ex- 
pression that is in good use even to-day. Is it grammatically 
correct? 

135. Doit. A small Dutch coin of exceedingly small value, 
which accounts for its use here. 

140. Single bond. A bond that has only the maker's signa- 
ture, there being no other guarantors. 



NOTES: ACT L SCENE III 145 

144. Nominated for. Named as. 

Equal. Exact, of the same weight. 

150. Dwell. Remain. Cf. All's Well That Ends Well 
(IV. 3. 13): "Let it dwell darkly with you." 

156. Teaches. An example of the Northern Early English 
plural, ending in es. 

158. Break his day. Break his engagement. 

162. Mutton, beefs. These are the Norman-French words, 
and they are here used with their original meanings, for sheep 
and oxen. 

165. For my love. For my love's sake. 

170. Fearful. Fear-inspiring. Cf . King John (IV. 2. 106) : 
"A fearful eye thou hast." 

171. Knave. Sometimes this was used to mean a boy; 
it also was used to mean a rogue. Cf. use in II. 3. 12: "to play 
the knave." 

ACT II 

Scene I 

Enter the Prince of Morocco. The First Folio stage direc- 
tions add: "A tawny Moor all in white." This has been used 
by some, in studying Othello, to prove that Othello, although a 
Moor, was white. 

1. Complexion. Pronounce here in four syllables. 

7. Whose blood is reddest. Dr. Johnson points out that 
red blood was considered to be a sign of courage. Later, Bas- 
sanio speaks of cowards as having "livers white as milk." (III. 
2. 86.) See Introduction, p. 21. Notice the use of the superla- 
tive degree of red, in comparing two objects. This was good 
usage in Shakespeare's time. 

8. Aspect. Accented on the second syllable. 

9. Fear'd. Caused to fear. Here used as a transitive verb. 
12. Thoughts. Affections. Cf. Twelfth Night (II. 4. 115): 

"She pined in thoughts." 

14. Nice. Precise. The word is to-day used in many senses; 
its correct use is here shown. We should speak of a nice dis- 
tinction, but not of a nice apple. 

17. Scanted. Restricted. 

18. Wit. Wisdom. Some commentators give it here the 
meaning of will. 

19. His . . . who. The relative pronoun goes back to the 
possessive his as its antecedent. 

20. Stood. Would have stood. 



146 THE MERCHANT OF VENICE 

25. The Sophy. The Shah of Persia. Cf. Twelfth Night 
(III. 4. 307): "fencer to the Sophy". 

26. Sultan Solyman. A probable reference to the campaign 
undertaken by Solyman (Solomon) the Magnificent against the 
Persians, in 1535. 

32. Hercules and Lichas. Lichas was the servant of Her- 
cules who innocently brought to his master the poisoned shirt 
which had been dipped in the blood of the Centaur Nessus. The 
poor servant met with the unjust punishment of being thrown 
headlong into the sea. The story is from Ovid (Met. ix. 155). 

35. Alcides. Hercules. This name came through the des- 
cent of Hercules from Alcaeus, the son of Perseus. 

42. Advised. Cautious. Cf. I. 1. 142. 

43. Nor will not. Another example of Shakespeare's use 
of the double negative. 

44. The temple. They are to go to the temple, or church, 
where the oath referred to in Portia's previous speech is to be 
administered. 

46. Blest or cursed'st. Most blessed or most cursed. The 
superlative ending of one adjective serves for both adjectives. 
Cf. III. 2. 289: "The best condition'd and unwearied spirit." 

Scene II 

Enter Launcelot. The First Folio reads: "Enter the Clown 
alone". This would suggest that Launcelot is the jester of the 
play, and so he is, although in a somewhat different sense than 
Shakespeare usually characterizes such a person. Here we 
have not a court jester but a rustic servant who is serving an 
urban master. Yet he is the fun-maker of the play and his oddi- 
ties in speech and manners do much to lighten the mood of the 
play. 

10 Pack. Begone, or, prepare to go as in The Comedy of 
Errors (III. 2. 158): "'Tis time, I think, to trudge, pack, and 
be gone." 

11. Via. Away, be off. An Italian word. Cf. the Latin 
via. 

24. God bless the mark. An expression difficult to explain. 
Prof. Child suggested that the mark may have been derived 
from the mark set upon idolatrers, as shown in Ezekiel ix. 6. 
(See Furness, Variorum Edition, p. 64.) The expression seems 
to be spoken as an apology for having used profanity; possibly 
the speaker points to the mark or crosses himself. 

28. Incarnal. Incarnate. Launcelot might, in modern 
language, be said to use many "malapropisms", a word derived 



NOTES: ACT II. SCENE II 147 

from the name Mrs. Malaprop, a character in Sheridan's play 
The Rivals, and referring to the use of words that are out of 
place where they are employed. 

36. Sand-blind. Purblind, half-blind. 

37. Confusions. Launcelot misuses this for conclusions. 

43. Marry. For Mary. Originally the expression was by 
Mary, i.e. the Virgin Mary; but in Shakespeare's time it had 
been contracted to marry. 

44. Indirectly. Launcelot means directly. 

45. By God's sonties. Probably means by God's saints. 
54. A'. Uneducated people of the times used this for he. 
57. Ergo. This is the Latin for therefore. In some way 

Launcelot has acquired these learned phrases. It has been 
suggested that before entering Shylock 's service he must have 
been the servant of some Venetian scholar, or perhaps he may 
have been a choir-boy. 

61. Father. Launcelot uses the word several times, but it 
does not serve to disclose his identity to old Gobbo, for the 
word was commonly used in addressing any old man. 

63. The Sisters Three. The three Fates. 

69. Hovel-post. One of the posts used in the frame-work 
of a hovel. The posts all came up to a point, and they were 
covered with sods. 

82. Launcelot has been kneeling, awaiting his father's bless- 
ing. The traditional stage directions here require that he turn 
his back to his father, who mistakes his long black hair for a 
beard (line 95). 

96. Fill-horse. Thill-horse, i.e. the horse in the thills or 
shafts. 

104. Set up my rest. Am determined. The term was used 
in playing a game. When the highest "stake" was settled, or 
determined, it was called the rest. 

111. Run as fast as God has any ground. This, according 
to Knight, was a characteristic Venetian speech, for there being 
so little land in Venice, the peasants longed to get away from 
their limitations and be able to walk indefinitely on ground. 

121. Giammercy. From the French grand merci, "great 
thanks." 

125. ; Infection. Gobbo uses this for affection or desire. 

131. Cater-cousins. A doubtful term, but evidently signi- 
fying distant relationship. Scarce cater-cousins means not agree- 
ing well. 

134. Frutify. Launcelot uses this for certify. 

138/ Impertinent. He means to use -pertinent, 

144. Defect. Gobbo uses this for effect. 



148 THE MERCHANT OF VENICE 

147. Preferred. Recommended for preferment or pro- 
motion. 

157. More guarded. More ornamented, with more guard- 
ings or trimmings. Cf. Henry VIII. (Prologue): "A long mot- 
ley coat guarded with yellow." 

160. Table. The table line or line of fortune is a term in 
palmistry. It is the line that goes from the fore-finger to the 
side of the hand. The table, then, might be regarded as the palm 
of the hand. The sentence is confusing; the clause which doth 
offer to swear upon a book probably modifies man and not tabic. 

162. Line of life. The line extending across the hand. 

Here's a small trifle of wives. In early palmistry the 
lines extending from the ball of the thumb toward the line of 
life signified the number of wives. 

168. Gear. Stuff. Cf. I. 1. 110. 

172. Bestow'd. Put away. Used similarly in The Comedy 
of Errors (I. 2. 78). 

186. Liberal. Reckless, wanton. Cf. Othello (II. 1. 165): 
"A most profane and liberal counsellor." 

Take pain. Shakespeare uses both the singular and the 
plural of pain, when employing this expression. 

187. Modesty. Moderation. 

188. Skipping. Playful. Cf. Love's' Labour Lost (V. 2. 771): 
"Wanton as a child, skipping and vain." 

191. Habit. Behaviour. Cf. Hamlet (III. 4. 135): "My 
father, in his habit as he lived." 

194. Hood mine eyes. Staunton says: "The practice of 
wearing the hat at meals was probably derived from the age 
of chivalry. In the present day, at the installation banquet of 
the Knights of the Garter, all the Knights Companions wear 
their hats and plumes. It appears to have been usual formerly 
for all persons above the rank of attendants to keep on their 
hats at the dinner-table." 



Scene III 

10. Exhibit. Launcelot probably meant to use inhibit, 
meaning stop. Furness agrees with Eccles in thinking that it, 
means: "My tears express what my tongue should, if sorrow 
would permit it." 

Scene IV 

2. Disguise us. For information regarding these masques 
read Introduction, p. 23. 



NOTES: ACT II. SCENE IV 149 

5. Spoke us yet of. One interpretation reads: "Spoke as 
yet of"; another: "Bespoke us yet of". Perhaps the former is 
to be preferred. 

Torch-bearers. These were needed because the streets 
were poorly lighted and dangerous. See Introduction, p. 24. 

6. Quaintly ordered. Tastefully contrived. 

10. Break up. Break open. 

23. Provided of. Provided with. At times, Shakespeare 
uses this expression to mean provided by. 

29. Needs. Necessarily. 

37. Faithless. Without faith, unbelieving. 

Scene V 

3. What. This interjection was often used to express im- 
patience. 

11. Bid forth. Invited out. 

17. Towards my rest. That will affect my peace of mind. 

18. To-night. Last night. But in seven other instances in 
this play, it means the next night. See note on I. 2. 126. 

20. Reproach. Launcelot means approach. 

25. Black-Monday. Easter Monday. Stowe says: "In 
the 34 Edw. Ill (1360) the 14 of April, and the morrow after 
Easter-Day, King Edward with his host lay before the city of 
Paris; which day was full dark of mist and hail, and so bitter 
cold, that men died on their horses' backs with the cold. Where- 
fore unto this day it hath been called the Black-Monday." 

30. The wry-neck' d fife. The expression is susceptible of 
two interpretations. Some commentators maintain that "fife" 
means a player on the fife, and consequently "wry-necked" 
refers to the musician's always looking away from his instru- 
ment. Others claim that since the old-time fifers had bent- 
mouth-pieces in their instruments, the expression "wry-necked" 
applies to the fife. The elder Booth, in acting the part, illus- 
trated the expression by turning his head in the way it is held 
when one is playing a fife. 

33. Varnish'd. Painted. Cf. II. 9. 48. 

36. Jacob's staff. In Gen. xxxii. 10 we read: "With my 
staff I passed over this Jordan." 

37. Of feasting forth. For feasting out. 

42. A Jewess' eye. A Jew's eye. There was an old prov- 
erb: "It's worth a Jew's 'eye." It refers to the cruel perse- 
cution of the Jewish people, when large sums of money were 
demanded of them, the failure to yield which resulted in the mutil- 
ating of the eyes or ears. See Introduction, p. 19. 



150 THE MERCHANT OF VENICE 

43. Hagar's offspring. A Gentile and a son "of a bond- 
woman." 

45. Patch. The professional jester was so called probably 
from his patched or parti-colored dress. From its use to mean 
"fool" you may explain our expression "cross patch." 

Scene VI 

1. Pent-house. Shed. 

5. Venus' pigeons. The doves by which Venus 's chariot was 
supposed to be drawn. 

7. Obliged. Pledged. The word is here sounded as having 
three syllables. 

9. Sits down. Add the preposition with. 
10. Untread again. Retrace. 

14. Younker. A stripling. Cf. Burns' Cotter's Saturday 
Night, line 47: "The younkers a' are warned to obey." 

15. Scarfed. Decked with flags and streamers. 
18. Over-weathered. Weather-beaten. 

35. Exchange, i.e. of dress.', 

42. Too-too light. Notice the repetition of too, the purpose be- 
ing for emphasis. Cf . Ill 2.16. In Words and Their Ways in Eng- 
lish Speech, by Greenough and Kittredge, (p. 173), speaking of the 
development of words, the authors say: "Sometimes a stem was 
formed by merely repeating the root, as the Italian uses piano 
piano, the French beau beau, or a child goody goody, to express a 
high degree of the idea intended." 

43. Office of discovery, i.e., the office, or duty of a torch- 
bearer is to discover, or disclose what is ahead. 

47. Close. Secret. Cf. Hamlet (II. 1. 118): "This must be 
known; which being kept close." 

51. By my hood. Perhaps Gratiano swears by the hood or 
masque he is wearing. Some commentators say it means: 
"by my self". Cf. hood in manhood. 

Gentile. In the early Folio, the word gentle was used. 
Shakespeare evidently intended a play on words. 

67. Glad on't. Glad of it. In Shakespeare's plays there is 
frequent use of on for of. 



Scene VII 

4. Of gold who. Of gold which. Shakespeare did not 
follow our modern grammatical distinctions in the use of the 
relative pronouns. 



NOTES: ACT II. SCENE VII 151 

30. Disabling. Undervaluing. Cf. As You Like It (V. 
4. 80): "He disabled my judgment." 

41. Hyrcanian. Hyrcania was a country south of the 
Caspian Sea. 

Vasty. Waste, desolate. Cf. First Part of Henry IV. 
(III. 1. 52): "I can call spirits from the vasty deep." 

42. Throughfares. Thoroughfares. 

49. Like. Likely. 

50. Too gross. Too coarse a material. 

51. Rib. Inclose. 

Cerecloth. Cloth covered with wax; used in embalming. 
Obscure. Accent the first syllable. 

57. Insculp'd upon. i.e. engraved on the surface of the 
coin. It was worth about ten shillings. The name angel came 
from the representation upon it of St. Michael killing the dragon. 
This word angel corresponded to the Dutch, En gel, whence the 
word English. You will recall the story of Pope Gregory's 
pun upon Angli and Angeli. 

59. Key. ... 60. May. In Shakespeare's time key was 
pronounced kay. 

63. A carrion death. A skull without flesh. 

65. Glisters. Shakespeare does not use glisten. 

75. Welcome, frost. Halliwell explains that this is the 
inversion of the old proverb, "Farewell, frost," which was used 
whenever anything displeasing took leave. 

77. Part. Depart. 

Scene VIII 

8. Gondola. Coryat, in describing the gondola, which 
to-day is similar to what it was in earlier days, says: "If the 
passenger meaneth to be private, he may draw the fair black 
cloth, and after row so secretly that no man can see him." 
This may have been done by Lorenzo and Jessica. 
12. A passion. A passionate outcry. 

27. Reason'd. Talked. 

28. The narrow seas. The English Channel. 
30. Fraught. Freighted 

33. You were best. It were best for you. You is the in 
direct object, not the subject. Another instance is found in 
the Second Part of Henry VI (V. 1): "You were best to go to 
bed." 
""" s 39. Slubber. Do carelessly. 

40. Riping. Ripeness. 

42. Mind of love. Loving mind, 



152 THE MERCHANT OF VENICE 

45. Conveniently. Suitably. 

48. Sensible. Sensitive. 

52. Embraced sadness, i.e., sadness which he has embraced. 



Scene IX 

13. Marriage. Pronounce in three syllables. 
18. Address'd me. Prepared myself. Cf. Midsummer Night's 
Dream (V. 107) : "Prepared to answer his desire." 
Fortune, i.e., good fortune. 

26. Fond. Foolish. Cf. III. 3. 9. 

27. Martlet. A swallow. 

28. In the weather. In the face of the storms. 

31. Jump with. Agree with. Cf. Twelfth Night (V. 259): 
"Till each circumstance cohere and jump." 

37. Cozen. Cheat. Cf. King Lear (V. 3.153): "Thou art 
not vanquish'd, but cozen'd and beguiled." 

40. Estates. Status, rank. 

43. The line means that many should then keep their hats on, 
to show their superiority. 

45-47. Dr. Johnson gives as the meaning: "How much 
meanness would be found among the great, and how much 
greatness among the mean." He explains the figure by saying 
that "men are always said to glean corn though they may pick 
chaff." 

47. Ruin. Rubbish. 

54. Schedule. A small scroll. Cf. Julius Caesar (III. 1. 3): 
"Hail, Caesar! read this schedule." 

62. Fire. Pronounce as two syllables. 

67. I wis. Shakespeare uses wis as a verb, but there never 
was such a verb. Ywis, in Old English, meant certainly or 
indeed. 

70. You are sped. Your fate is sealed. Cf. Romeo and 
Juliet (III. 1. 94): "I am hurt. ... I am sped. Is he gone, 
and hath nothing?" 

76. Wroth. That which causes writhing, i.e., disaster. Ruth 
is a synonym. 

87. Sensible regreets. Greetings that are evident to the 
senses, — i.e., substantial. Cf. use in II. 8. 48. 

88. Commends. Commendations, compliments. Cf. Rich- 
ard II (III. 3. 126): "Speak to his gentle hearing kind com- 
mends." 

89. Yet I have not. I have not yet. Yet was often used, in 
Shakespeare's day, before a negative. 



NOTES: ACT II. SCENE IX 153 

96. High-day wit. Holiday wit, as contrasted with every- 
day wit. 

98. Post. A messenger, or, as we say, a postman. 

99. Lord Love. Cupid. She here invokes the aid of Cupid. 



ACT III 

Scene I 

2. It lives there unchecked, i.e. the rumor is not contradicted. 

4. The Goodwins. The Goodwin Sands are off the, eastern 

coast of Kent. Tradition has it that there once existed there 

an island belonging to Earl Godwin, and that in the year 1100 

this island was swallowed up by the sea. 

9. Knapped. Gnawed or nibbled. The idea that old women 
were fond of ginger is again referred to in the play Measure for 
Measure (IV. 3, 8): "Marry, then ginger was not much in re- 
quest, for the old women were all dead." 

27. The wings she flew withal. The disguise {i.e., the boys' 
clothes) in which she ran away. 

29. Complexion. Disposition. Cf. Hamlet (V. 2. 102): 
"Methinks it is very sultry and hot for my complexion." 
41. Rhenish. A white wine. 

43. Match. Bargain. 

44. A prodigal. This is probably Shylock's word, where 
others would have called Antonio "generous." Shylock cannot 
appreciate Antonio's liberality. 

46. Smug. Trim, neat. In King Lear (IV. 6. 202) is the 
expression "a smug bridegroom". 
Mart. Market. 

54. Half a million. That is, ducats. 

68. Humility. Humanity. Cf. Love's Labour Lost (IV. 3. 
349): "Plant in tryants mild humility." 

71. It shall go hard, etc. I shall exert every effort to outdo 
you in all you teach me. 

77. Matched. Found to match them. 
121. Turquoise. This stone was believed to possess unusual 
qualities, its color being said to fade or grow brighter according 
to the health of the wearer. In an earlv work, Fenton's Secret 
Wonders of Nature (1569), we read: "The Turkeys doth move 
when there is any peril prepared to him that weareth it." 

130. At our synagogue. Victor Hugo, as quoted by Furness, 
says: "In entering his synagogue Shylock entrusts his hatred 
to the safeguard of his Faith. Henceforward his vengance 
assumes a consecrated character," 



154 THE MERCHANT OF VENICE 



Scene II 

8. The line perhaps is intended to show what Furness calls 
"Portia's maidenly embarrassment" at asking Bassanio to 
pause "a day or two"; and "lest he should not understand her 
well" in preferring such a request, she urges her incapacity as a 
tongue-tied maiden to explain herself more fully. 

15. O'erlooked. Bewitched. This refers to the old super- 
stitious idea of the effect of "evil eye." In The Merry Wives 
of Windsor (V. 5. 87) we find: "Thou wast o'erlooked even in 
thy birth." 

18. Naughty. Worthless. Used by Shakespeare in a differ- 
ent sense than we use it to-day. It then meant good for naught. 

20. Prove it so. If it prove so. She means: "If it prove that 
I am not yours, then let fortune and not I take the punish- 
ment." 

22. Peize. Weigh or keep suspended. The word comes from 
the French peser, meaning to weigh. Steevens explains that it 
here means to delay, in the sense that as the weights of the 
weighing scales are added, they hold back what is being weighed. 

32. Upon the rack, etc. Referring to the rack used in the 
early English prisons, to torture the victims suspected of treason. 
Shakespeare here voices a protest against the injustice of this 
punishment. The famous Tower of London witnessed many 
cruel tortures during the reign of Queen Elizabeth. Cf. the 
verb use in I. 1. 181. 

44. A swan-like end. It used to be believed that swans sing 
just before dying. Cf. Othello (V. 2. 247) : "I will play the swan, 
and die in music." 

46. Proper. Suitable. Cf. use in I. 2. 70. 

49. Flourish, i.e. of trumpets. 

51. Dulcet sounds, etc. A reference to the custom cf playing 
music, on the marriage morn, below the bridegroom's window. 

54. Presence. Dignified demeanor. 

55. Alcides. Hercules. In Ovid's Metam. xi. is the story of 
Hercules' rescue of Hesione, daughter of Laomeda, King of 
Troy. Neptune had threatened to flood the country in return 
for an offense committed by the king, but he had offered to stay 
his threat if Hesione should be offered as a sacrifice. The maiden 
was chained to a rock where she was exposed to the danger of 
falling prey to a sea-monster. With the proffered reward of a 
pair of horses, Hercules rescued her, not through love of the 
maiden but because of the prize in store. Thus Portia shows 
now much greater is Bassanio's motive, for Bassanio acts through 
love. 



NOTES: ACT III. SCENE II 155 

58. Dardanian wives. Trojan women. 

61. Much much. See note II. 6. 42. 

63. Fancy. Love. Weiss says it here means a passing senti- 
ment, although elsewhere it refers to "genuine passion." 

74. Still. Always. Cf. Hamlet (II. 2. 42) : "Thou still hast 
been the father of good news." 

76. Season'd. Rendered more agreeable. In one other in- 
stance (IV. 1. 195) it is used to mean temper or moderate. 

79. Approve. Prove. 

81. Simple. Unmixed. 

82. His. Its. See note on I. 1. 141. 

86. Livers white as milk. See Note on II. 1. 7. 

87. Excrement. Excrescence, an added growth. It is used 
in speaking of the beard, which for some reason was mentally 
associated with valor. The reference here is to a mere external 
show of valor. Cf. Love's Labour Lost (V. 1. 109): "Dally with 
my excrement, with my mustachio." 

88. Beauty. Steevens says it here refers to "artificial 
beauty." 

91. Lightest. Not in weight, but in character. 

92. Crisped. Curled. 

94. Upon supposed fairness. Depending upon their counter- 
feit beauty. 

95. A second head. False hair, which was common in 
Shakespeare's time. Furness quotes Barnaby Rich (1615): 
"My lady holdeth on her way, perhaps to the tire-maker's shop, 
where she shaketh her crowns to bestow upon some new-fashioned 
attire, upon such artificial deformed periwigs, that were fitter to 
furnish a theatre. . . . These attire-makers within these forty 
years were not known by that name. . . . But now they are 
not ashamed to set forth upon their stalls, — such monstrous 
mop-poles of hair, so proportioned and deformed, that but 
within these twenty or thirty years would have drawn the 
passers-by to stand and gaze, and to wonder at them." 

97. Guiled. Full of guile. 

99. Veiling an Indian beauty. The commentators are at 
variance regarding this passage, it being doubtful why Shakes- 
peare uses the word beauty, when he is contrasting it with a 
beauteous scarf. Some critics insist that a semi-colon be in- 
serted after Indian. 

102. Midas. The story is familiar. Midas, King of Phrygia, 
was granted by Bacchus the power to turn whatever he touched 
into gold. But when the food he touched was thus changed, he 
realized the folly of his wish. 

112. Rain. Probably means rein, to curb. 



156 THE MERCHANT OF VENICE 

115. Counterfeit. Portrait. Cf. Timon of Athens (V. 1. 83): 
"Thou draw'st a counterfeit best in all Athens." 

126. Unfurnished. Bailey says that in another instance this 
is used to mean unfellowed. Here it probably means "leave 
itself without the other eye." 

130. Continent. Container. 

140. I come by note, etc. I come in accordance with what is 
noted in the scroll, to give and to receive a kiss. 

141. In a prize. In a contest for a prize. 
157. Livings. Possessions. 

159. The First Folio reads: "Is sum of nothing." The text 
as given here, which has the support of many commentators, is 
clearer than the Folio. 

175. My vantage to exclaim on you. My opportunity to ex- 
claim against you. In several instances Shakespeare uses 
exclaim, on. 

179. Fairly. Well, gracefully. 

188, 189. Our time, that. Notice the reference of the relative 
pronoun that to the antecedent our. Cf. Note on II. 1. 19. 

194. Bargain. Contract. 

196. So. Provided. 

200. Intermission. Delay. Pronounce in five syllables. 

209. Achieved. Won. 

215. Salanio. In most texts a new character, Salerio, a 
Messenger, is here introduced. It seems improbable that a new 
character would be introduced here, when it did not appear in 
the original Dramatis Personae. 

219. Very friends. True friends. 

228. Him. Himself. 

232. Estate. State. 

239. Shrewd. Evil, malicious. 

243. Constant. Firm-minded, self-possessed. 

258. Mere. Thorough, absolute. Cf. As You Like It (II. 7. 
165): "Mere oblivion." 

263. Hit. Succeeded. The word is a part of the expression 
"hit the mark." 

269. Discharge. Pay. Cf. The Comedy of Errors (IV. 1. 
13): "I will discharge my bond." 

272. Confound. Destroy. In the Bible occurs the expression 
"confound thine enemies." Cf. Ps. Ixxi. 13: "Let them be con- 
founded and consumed that are adversaries to my soul." 

274. Impeach the freedom of the state, i.e. he denies that the 
state grants free rights to aliens. 

276. Magnificoes. The "chief men of Venice," — i.e. those of 
highest rank, or port, as the next line says. 



NOTES: ACT III. SCENE II 157 

277. Persuaded with. Argued with. Cf. Measure for Meas- 
ure (V. 93) : "How I persuaded, how I prayed and kneeled." 

278. Envious. Malicious. 

281. Chus. A Biblical name. Cf. Gen. 10. 6, where the name 
appears as Cush, one of the sons of Ham. 

285. Deny. Forbid. Cf. IV. 1. 427. 

289. Best condition'd and unwearied. Another instance of 
the use of one superlative for two adjectives. Cf. ftote on 
II. 1. 46. 

Condition'd. Dispositioned. Cf. I. 2. 129. 

296. Description. Pronounce as four syllables. 

308. Cheer. Countenance. Cf. Midsummer Night's Dream. 
(III. 2. 96): "All fancy-sick she is and pale of cheer." 

315. Between you and I. This was an established Shakes- 
peare idiom. Little regard was then given to the grammatical 
usage of pronouns. Cf. I. 2. 28. 

Scene III 

9. Naughty. Worthless. See Note on III. 2. 18. 
Fond. Foolish. Cf. II. 9. 26. 
19. Kept. Dwelt. Cf. Julius Caesar (I. 2. 315): "Noble 
minds keep ever with their likes. 

23. Made moan. Complained. See note on I. 1. 126. 

27. Commodity. Commercial advantages, convenience. Cf. 
use in I. 1. 178. There has been considerable discussion as to 
the antecedent of it in the line following; Furness favors com- 
modity. 

32. 'Bated. Reduced. Cf. I. 3. 119: "with bated breath". 

Scene IV 

2. Conceit. Conception, idea. See Note on I. 1. 92. 

7. Lover. Friend. Cf . the introduction of Brutus' speech in 
Julius Caesar (III. 2. 13): "Romans, countrymen, and lovers". 

9. Bounty can enforce you. Benevolence can incline you to 
be. 

11. Nor shall not. Here is another double negative. Cf. I. 2. 
26. 

12. Waste. Spend. 

25. Husbandry and manage. Stewardship and management. 
Notice the noun use of manage. 

28. Contemplation. Pronounce with five syllables. 

33. Imposition. Injunction, order. There was not in the 
word, as there is to-day, any implication of deceit. Cf. use 
in I. 2. 104. 



158 THE MERCHANT OF VENICE 

49. Padua. The seat of a famous university of law, which 
was well known even in the Middle ages. (See Introduction, 
p. 20). 

50. Cousin. Kinsman. In some instances Shakespeare uses 
it as we do to-day. For example, in As You Like It (I. 1. 113) 
in speaking of Rosalind and Celia. 

52. Imagined speed. The speed of imagination. 

53. Traject. A word of doubtful origin, used by Shakespeare 
in no other place. It seems plausible to associate it with the 
Italian word traghetto, meaning ferry. 

56. Convenient. Suitable. Cf. Coriolanus (V. 3. 191): 
"I'll frame convenient peace." 

59. Before they th'nk of us. i.e., of seeing us. 

61. Accomplished. Furnished. Cf. Richard IT (II. 1. 177): 
"Accomplished with the number of thy hours." 

65. Braver. Finer in appearance and dress. Cf. Tempest 
(I. 2. 411): "It carries a brave form." 

69. Quaint. Beautifully woven, ingenious. Cf. The Taming 
of the Shrew (IV. 3. 102): "A gown more quaint, more pleasing." 

72. I could not do withal. I could not help it. 

77. Raw. "Green." Cf. what Touchstone, in As You Like 
It (III. 2. 76), says of Corin : "Thou art raw." 

Jacks. Fellows. A term expressing contempt. 

Scene V 

3. I fear you. I fear for you. 

4. Agitation. Launcelot meant to use cogitation, thought. 
10. Enow. Enough. 

33. Cover. Launcelot is using the word in its two meanings: 
(1) cover the table, (2) cover the head. For the custom referred 
to in the second meaning, see the note on II. 2. 194. It is 
similarly used in II. 9. 43. 

37. Quarrelling with occasion. Quibbling on every oppor- 
tunity. 

46. Conceits. Fanciful thoughts or devices. See Note on 
I. 1. 92. 

47. Discretion. Discrimination. Used in contrast to the word 
quarreling, which was used in his previous speech. 

Are suited. Go together, are matched. Perhaps here 
meaning illy-matched. Cf. use of suited in I. 2. 72. 

51. Garnish'd. Furnished; i.e., with words, 

52. How cheer'st thou. Roberts' folio reads: "How farest 
thou?" Cf. the noun use of cheer in III. 2. 308. 

59-60, This passage has occasioned much discussion. Per- 



NOTES: ACT III. SCENE V 159 

haps the clearest interpretation is given by Prof. Corson, who 
suggests that mean is the verb form of the word meaning "be- 
tween two extremes." He paraphrases thus: "If on earth he 
do not observe a mean in his pleasures, it is reason he should 
never come to heaven." This is indorsed by Furness* 

64. Pawn'd. Staked. 

69. Stomach. Appetite. 

ACT IV 

Scene I 

Stage Arrangement for This Scene. Edward W. Godwin, in 
The Architect, March 27, 1875, says: "I propose a diagonal set 
for this scene, where the left side of the angle is taken up with 
the raised platform for the Doge and Magnificoes; in front of 
it the lawyers' table, at which, in the very centre of the stage, 
stands Portia; to her left and in front of her stands Antonio; 
on her right, at the end of the lawyers' table, in advance of 
Antonio, and the nearest character to the footlights, stands 
Shylock. Bassanio's position is on the platform, among the 
nobles around the Doge." The article quoted gives further 
minute details that would be suggestive in staging the scene. 
See Furness, Variorum Shakespeare, p. 393. 

Staunton says that Portia "appears as a judge, not an advo- 
cate, and that her proper place, therefore, is on the judgement- 
seat, below the Duke's throne, rather than on the supposed floor 
of the Court, in front of the stage." 

5. Empty from. In all other instances, Shakespeare uses 
empty of. 

7. Qualify. Soften, moderate. Cf. Hamlet (IV. 7. 114): 
"Time qualifies the fire and spark of it." 

8. Obdurate. The accent is on the second syllable. 
10. Envy's. Hatred's. 

13. Tryanny. Cruelty. 

20. Remorse. Pity. 

21. Apparent. Seeming. 

22. Where. Whereas. 
24. Loose. Release. 

26. Moiety. Portion. Cf. Hamlet (1. 1. 90) : "A moiety com- 
petent was gaged by our king." 

29. Royal merchant. Italy in the Middle Ages offered as an 
inducement to merchants to fit out vessels the gift of island 
territory, where they could set up independent principalities. 
In this way they became "royal merchants." 



160 THE MERCHANT OF VENICE 

39. Charter. See note on III. 2. 274. 
43. Say. Suppose. 

Humour. Whim, turn of mind. 
16. Baned. Poisoned. 

47. A gaping pig. Probably refers to the roasted pig which 
was brought to the table with a lemon in its open mouth. 
Furness refers to Nashe's Pierce Penilesse, quoting this: "Some 
will take on like a mad man, if they see a pig come to the table." 
The work quoted from is an early story written in Shakespeare's 
time. 

59. Lodged. Settled. 

69. Think your question. Consider that you are arguing 
with. 

71 . Main flood. Ocean tide. 
76. Fretten. Fretted. 
82. Judgement. Court sentence. 

91. Parts. Duties. Allied to the word part, as used in a 
play. 

103. My power. My own authority. 
105. Determine. Decide and render judgment. 
122. Shakespeare uses the same play on words in Julius 
Caesar (I. 1. 15) where the cobbler says he is a "mender of bad 
soles." 

124. Hangman. Executioner. 
128. For thy life. For letting thee live. 

130. Pythagoras. Pythagoras was a Greek philosopher who 
held to the doctrine of the transmigration of souls. According 
to this theory the soul, after the death of a human being, goes 
over into the body of an animal, after whose death it again 
seeks a human habitation. Cf . Twelfth Night (IV. 2. 54) : 

Clown. What is the opinion of Pythagoras concerning wild fowl? 
Malvolio. That the soul of our grandam might haply inhabit a bird. 

159. Fill up. Fulfil. 

160. Impediment to let him lack. Clarendon says it means: 
"No hindrance to his receiving." 

168. Take your place, i.e. on the judge's dais. See Note at 
the beginning of this scene. 

169. The difference that holds this present question in court. 
The dispute that is under consideration in the present trial. 

171. Throughly. Thoroughly. Cf. II. 7. 42. 

178. Danger. Power to harm. (Skeat). Cf. Macbeth 
(III. 2. 15) : "Remains in danger of her former tooth ." 

180. Must. Portia uses the word in the sense of will, not as 
implying the idea of compulsion. But Shylock interprets it 
otherwise. 



NOTES: ACT IV. SCENE I 161 

182. Strain'd. Restrained, restricted to a few people. Fur- 
ness calls attention to Portia's use of strain'd as the answer to 
Shylock's question of compulsion. 

184. Twice blest. Carries two blessings. 

195. Seasons. Tempers, moderates. See Note on III. 2. 76. 

198. We do pray for mercy, etc. Probably refers to a similar 
statement in the Lord's Prayer. 

202. Follow. Insist upon. Cf. line 175. 

206. Discharge. Pay. See Note on III. 2. 269. 

212. Truth. Honesty. 

221. A Daniel come to judgement. It may refer to an Apo- 
cryphal story in the History of Susanna. Here Daniel is repre- 
sented as convicting the Elders of falsehood. Furness calls 
attention to the substitution of Solomon in Lansdowne's version. 
This seems fitting, for the familiar story of Solomon's judgment 
in the case of the two mothers (/ Kings hi. 16-28) shows how 
well he played the part of an "upright judge". 

246. Hath full relation. Is clearly applicable to. 

249. More elder. A double comparative; commonly used by 
Shakespeare. 

253. Are there balance? Haliwell, as quoted by Furness, 
says : u Balance was used in Shakespeare's time as a plural noun." 

255. On your charge. At your expense. 

266. Still her use. Ever her custom. 

273. Speak me fair. Speak well of me. 

275. Love. Friend. See note on III. 4. 7. 

276. Repent. Regret. Used in III. 4. 72. 
281. Which. Who. See note on II. 7. 4. 
289. So. If. 

294. Barrabas. We read in the Bible (John xviii, 40): 
"Now Barabbas was a robber." 

296. Pursue. Accent the first syllable. 
309. Confiscate. Confiscated. 

325. Just. Exact. Cf. Henry V (IV. 7. 122): "Bring me just 
notice of the numbers dead." 

326. Substance. Weight. Here meaning the mass, or gross 
weight. 

329. Estimation. Weight. In this instance, the estimated 
weight. 

332. I have thee on the hip. A wrestling expression. See 
note on I. 3. 45. 

344. Question. Pronounce as three syllables . 

347. Alien. Pronounce as three syllables. 

350. Contrive. Plot. Cf. Julius Caesar (II. 3. 16): "The 
Fates with traitors do contrive." 



162 THE MERCHANT OF VENICE 

370. Which humbleness may drive unto a fine. Which 
humble petition of mine may lead me to change the sentence to 
a fine. 

371 . Ay, for the state ; not for Antonio. The part going to the 
state may be so changed {i.e., to a fine), but not Antonio's part. 

381. In use. In trust. Cf. Antony and Cleopatra (I. 3. 44): 
"My full heart remains in use with you." 

397. Ten more. For the purpose of making up a full jury of 
twelve. 

402. Presently. Immediately. 

404. Gratify. Recompense. Cf. Cymbeline (II. 4. 7): "In 
these feared hopes I barely gratify your love." 

410. Cope. Give an equivalent for, pay for. 

419. Of force. Necessarily. 
Attempt. Tempt. 

449. Commandment. Pronounce as four syllables, by spelling 
it commandement, as in the early Folios. 

Scene II 

6. Upon more advice. Upon further thought. Cf. 1.1. 142, 
where advised means careful, thoughtful. 

15. Old swearing. Old is used as a word that merely intensifies 
without adding any particular meaning. Rolfe alludes to our 
modern slang phrase, "a high old time." 



ACT V 

Scene I 

The Scene. Hunter, in New Illustrations, as quoted by 
Furness, says: "The 'poet's pen' has nowhere given more striking 
proof of its power than in the scene of the garden of Belmont. 
We find ourselves transported into the grounds of an Italian 
palazzo of the very first class, and we soon perceive them to be 
of surpassing beauty and of almost boundless extent. It is not 
a garden of parterres and flowers, but more like Milton's 
'Paradise,' full of tall shrubs and lofty trees— the tulip tree, 
the poplar, and the cedar. But it is not, like Milton's, a garden 
in which the hand of Nature is alone visible. There are terraces 
and flights of steps, cascades and fountains, broad walks, aven- 
ues, and ridings, with alcoves and banquetting-houses in the 
rich architecture of Venice. It is evening; a fine evening of 
summer, which tempts the masters of the scene to walk abroad 
and enjoy the breezes which ruffle gently the foliage. The moon 



NOTES: ACT V. SCENE I 163 

is in the heavens, full orbed and shining with a steady lustre; 
no light clouds disturbing the deep serene. On the green sward 
fall the ever-changing shadows of the lofty trees, which may be 
mistaken for fairies sporting by the moonlight; where trees are 
not, the moonbeams sleep upon the bank. The distant horn is 
heard, and even sweeter music floats upon the breeze." 

4. Troilus. Prince Troilus was the son of Priam, king of 
Troy. He secretly fell in love with Cressida, a Greek maiden. 
Later, however, she proved traitor to Troilus and fell in love with 
Diomed, a Greek warrior. Shakespeare got the story from 
Chaucer's Troilus and Cresseide. The details appear in Shakes- 
peare's play Troilus and Cressida. 

7. Thisbe. Pyramus and Thisbe were Babylonian lovers. 
They agreed upon a secret meeting-place and Thisbe reached the 
place first. She became deathly frightened at the sight of a 
lioness that was covered with blood in consequence of an en- 
counter with another animal; and she fled, leaving behind her 
cloak. Pyramus soon arrived on the scene, to find the cloak 
which was now stained with blood. Heart-broken at supposing 
she had been killed by the lioness, he killed himself. Thisbe, 
on later returning, took her own life. The story first appeared 
in Ovid's Metam. IV. Later we find it in Chaucer's Legende of 
Goode Women. You are probably familiar with the humorous 
presentation of the story in Midsummer Night's Dream. 

10. Dido. In Virgil's story of the wanderings of Aeneas we 
read of the visit Aeneas made with the Carthaginian queen Dido. 
Here is the reference to his departure from Carthage. 

Willow. An emblem of forsaken love. Cf. Twelfth 
Night (I .5. 287) : "Make me a willow cabin at your gate." 

11. Waft. Wafted. 

13. Medea. The picture is of the sorceress Medea going 
forth at midnight, as was her wont, to gather enchanted herbs. 
Some of these herbs she boiled in a cauldron, and putting the 
aged Aeson, Jason's father, into the boiling mixture, miraculously 
restored his youth. Cf . note on 1. 1 . 170. The picture of Medea 
is here introduced to add to the witchery of the midnight hour. 

28. Stephano. Note the accent on the second syllable. As 
used in The Tempest it comes on the first syllable. 

31. Holy crosses. Furness quotes Knight as follows: "These 
holy crosses still, as of old, bristle the land in Italy, and sanctify 
the sea. Besides those contained in churches, they mark the 
spot where heroes were born, where saints rested, where travelers 
died." 

39. Sola, etc. The words imitate the notes of the horn 
carried by the courier, or "post". 



164 THE MERCHANT OF VENICE 

53. Music. Here meaning a band of musicians. Cf. line 98. 

59. Patines. Plates. Referring to the gold or silver plates 
used for the bread in the Holy Sacrament, or the Eucharist. 
Some commentators think the original word used was patterns, 
and that the word is used to refer to the stars themselves. 
. 61. His. Its. See note on I. 1. 141. 

Like an angel sings. This refers to the ancient belief in 
"the music of the spheres". Plato in De Republica discourses 
upon the "harmony of the spheres". He pictures a siren sitting 
on each one of the eight planets, singing the tone peculiar to the 
individual "sphere." The eight tones produce the perfect 
"harmony". 

62. Cherubins. The Hebrew plural of cherub is cherubim, as 
shown in the Biblical phrase "cherubim and seraphim." This 
form, cherubins, is a plural formed from the French word cherubin. 
It appears thus in A Lover's Complaint (319), and in The Tempest 
(I. 2. 152). The form cherub appears in Hamlet (IV. 3. 50): 
"I see a cherub that sees them," 

63. Such harmony is in immortal souls. The ancient belief 
was that the "music of the spheres" is heard only within the 
immortal soul. 

65. Close it in. Again referring to the ancient belief, accord- 
ing to which the body, the "muddy vesture of decay," deadens 
the harmony, "doth grossly close it in." Some read the line: 
"Doth close us in;" but the early Folio says, "Doth grossly close 
in it", seeming by it to refer to the harmony. 

66. Wake Diana, i.e., wake the moon, Diana being the goddess 
of the moon. 

77. Mutual. Common. Cf. Midsummer Night's Dream 
(IV. 1. 122) : "The skies, the fountains, every region near seemed 
all one mutual cry." 

79. The poet. Probably Ovid. 

80. Orpheus. By the music of his lyre he charmed everything 
within hearing. 

87. Erebus. The dark underworld of mythology. Through 
this must pass the departed spirits on their way to the Styx and 

91. Naughty. See note on III. 2. 18. 

98. Music of the house. Musicians. See note on line 53. 

99. Without respect. Without regard to circumstances. For 
another illustration of respect, meaning regard, see Midsummer 
Night's Dream (I. 1. 160): "She respects me as her only son." 

103. Attended. Attended to, attentively listened to. Furness, 
however, thinks it does not need the preposition. To him it 
means: "It is the attendant circumstances alone which prevent 



NOTES: ACT V. SCENE I 165 

the lark and the crow from being equally good; even the nightin- 
gale, if ill-attended, is no better musician than a wren." 

109. Endymion. The shepherd loved by Diana. 

121. A tucket sounds. The tucket is what has elsewhere 
(III. 2. 49) been called a flourish; i.e., a series of sounds on a 
trumpet. The Italian word is toccata. 

127. Hold day with the Antipodes. If you, Portia, should 
walk in the night, we should then have daylight, as do the 
Antipodes, on the other side of the globe. 

132. Sort all. Dispose all things. Cf. Richard III (II. 3. 36) ; 
"All may be well; but God sort it so, 'tis more than we deserve." 

136. In all sense. In every respect. Cf. The Taming of the 
Shrew (V. 2. 141): "It blots thy beauty . . . and in no sense 
is meet or amiable." 

141. Breathing courtesy. The courtesy that does not go 
beyond the breathing of words. 

146. Posy. The motto on the inside of a ring. Cf. Hamlet 
(III. 2. 162): "The posy of a ring." 

154. Respective. Mindful, considerate. Cf. Romeo and Juliet 
(III. 1. 128): "Away to heaven, respective lenity." 

160. Scrubbed. Stunted in growth, or a stripling. Cf. our 
word "scrub oak." To some commentators the word contains 
a further meaning, implying that ugliness goes with the deformity. 

175. I were best. See note on II. 8. 33. 

195. Virtue. Power. 

197. Contain. Retain. Cf. The Taming of the Shrew (Intro- 
duction 1. 100): "We can contain ourselves." Elsewhere in this 
play, as in II. 7. 11, we have the usual meaning of contain. 

201. Wanted. Lacked. The text should read: "To have 
wanted." Cf. Goldsmith's Vicar of Wakefield, Chapt. II: 
"There were three strange wants at Wakefield, — a parson want- 
ing pride, young men wanting wives, and ale-houses wanting 
customers." 

202. As a ceremony. As a sacred thing. 
206. A civil doctor. A doctor of civil law. 

226. Enforced. Involuntary. Cf. King John (V. 2. 30): 
"This enforced cause." Pronounce it in three syllables. 

231. Double. Evil, full of duplicity. Cf. Hamlet (V. 1. 118): 
"His purchases, and double ones too." 

235. Wealth. Welfare. To-day we so use it in the word 
commonwealth. 

239. Advisedly. Deliberately. Cf. I 1. 142: "with more 
advised watch." 

259. Living. Possessions. See III. 2. 157. 

261. To road. To harbor. See note on I. 1. 19. 



166 THE MERCHANT OF VENICE 

267. Manna. Here is an opportunity to review the Bible 
story. 

269. Satisfied of. Fully informed. Cf. Antony and Cleo- 
patra (II .2. 52): "Of this my letters before did satisfy you." 

271. Charge us there upon inter'gatories. Furness quotes 
from Campbell as follows: "In the court of Queen's Bench, when 
a complaint is made against a person for a 'contempt, ' the prac- 
tice is that before sentence is finally pronounced he is sent into 
the Crown office, and being there 'charged upon interrogatories', 
he is made to swear that he will 'answer all things faithfully. ' " 
The "interrogatories," then, are questions put to the witness. 



A STUDY OF THE PLAY 

Lesson 1 

Before any study can be intelligently undertaken, there 
should be a reading of the entire play for the purpose of becom- 
ing acquainted with the plot. In such a study, the making of a 
topical outline is of great assistance. In making this outline, 
the pupil should understand that a good topic is like a guide 
post, in that it is not an end in itself, but is something that leads 
the reader on. Such a topic, at the beginning, as The entrance of 
Antonio, Salarino, and Salanio would lead nowhere in a reci- 
tation. The following two topics are suggested for the beginning : 

Salarino's surmise regarding Attionio's sadness. 
Salanio' s surmise 

The lesson assignment: Make a topical outline for Act I. 



Lesson 2, 3, 4, and 5 
Make topical outlines for Acts II, III, IV, and V. 

Lesson 6 

Act I. Scene 1. Lines 1-56. 

Read what is said in the Introduction about Venice, (p 20). 
How do you suppose an audience in Shakespeare's time would 
know what the setting is? (See p. 11). How were these 
Italian gentlemen dressed? (See p. 21). How does the mood 
of Salarino and Salanio contrast with that of Antonio? How 
does each attempt to explain his sadness? What does the 
difference in the moods of these first speakers promise regarding 
the moods of the play itself as it later develops? Why does the 
suggestion of anxiety regarding the ships at sea seem a fitting 
theme for the opening of the play? Would you judge from 

167 



168 THE MERCHANT OF VENICE 

Antonio's opening speech that his sadness is a habitual mood? 
Why do you suppose he was sad now? Is there any hint given 
in his later question to Bassanio (119-121)? Why does he 
turn aside so abruptly Salarino 's hint regarding love (46)? 
Would this suggest that Antonio is a man well along in years? 
How old do you imagine him to be? Considering Antonio's 
interest in Bassanio 's affairs, why is this reference to love a 
fitting one at the opening of the play? 

Look up and explain the following: 9. argosies. 11. pageants. 
19. roads. 27. wealthy Andrew. 42. bottom. 50. two-headed 
Janus. 56. Nestor. 

Explain these expressions: 6. want-wit sadness. 10. on the 
flood. 12. overpeer. 14. their woven wings. 18. (explain the 
line). 22. cooling my broth. 25. hour-glass. 28. ribs. 52. 
peep through their eyes. 54. vinegar aspect. 

Memorize lines 1-5. 

Lesson 7 

Act I. Scene 1. Lines 57-118 

The first mention of Bassanio shows him to be held in what 
regard by Antonio? (57) Is Salarino discourteous? (60-61) 
Show how Antonio's reply is both frank and courteous. (62-64) 
What does Salarino mean by his reply? (68) What is the time 
of day now? (70) How does Bassanio's explanation of Anto- 
nio's sadness differ from the previous guesses? (73-76) Do 
you suppose Shakespeare had a purpose in introducing Bassanio 
at just this point? What figure of speech does Antonio use in 
lines 77-78? Explain the comparison. Notice in Gratiano's 
speech any evidence to show that Bassanio rightly judged him 
in a later speech. (114) Look up the reference to medicine in 
lines 81-82. (See Introduction, page 21). Explain the figure 
in lines 93-94. What do we learn in Bassanio's speech (lines 
114-118) as to the setting of the story? At this point, what is 
your opinion of Antonio? of Bassanio? of Gratiano? 

Look up and explain : 74. too much respect upon the world. 79. 
fool. 92. conceit. 102. fool-gudgeon. 110. gear. 112. neat's 
tongue. 

Memorize lines 77-79; 93-94; 114-115, 



A STUDY OF THE PLAY 169 

Lesson 8 
Act I. Scene 1. Lines 119-end. 

After Bassanio's critical remarks about Gratiano, does Anto- 
nio join in with the criticism or does he turn to something else? 
Does what he talks about pertain to his own interests? What 
judgments of his character may we make? What would line 
119 and line 131 indicate that Bassanio had previously talked 
over with Antonio? Would this explain Antonio's sadness? 
What reason has Bassanio for seeming embarrassed in ap- 
proaching Antonio? What characteristic in Antonio is brought 
out in his speech in lines 135-139? Explain Bassanio's figure of 
the shaft. (140-152) What would this indicate regarding one 
of the school sports in Shakespeare's day? How does Bassanio 
propose to apply this shaft figure? (161-176) Is it a sound 
business proposition? Locate Belmont. (161) (See Introduc- 
tion, p. 20). Has Bassanio received any encouragement from 
Portia? (163-164) (also Act I. Scene 2. Line 104). What de- 
scription is here given of Portia? Does she seem different here 
than when she later appears as a lawyer? Does that explain 
why Bassanio does not then recognize her? Explain the refer- 
ence to Brutus' Portia. (166) In what other play is she men- 
tioned? iHow does Antonio's speech (177-185) further show 
his character? 

Look up and explain: 124. a more swelling port. 130. gag'd. 
140. shaft. 141. fellow; flight. 143. proof. 163. sometimes. 
171. Colchos; Jason. 

Lesson 9 
Act I. Scene 2. Lines 1-end. 

Find the facts that this scene is intended to give to the 
reader: the conditions of the choice of the caskets (27-32); the 
wide distribution, geographically, of the suitors (locate all); 
Portia's opinion of each; what happened to all (99-104); Bas- 
sanio's previous visit (111-114); and Portia's feeling regarding 
him (120-121). 

Find in the scene all the evidences of Portia's girlish love of 
fun. Has Shakespeare any purpose in thus picturing her? Is 
she lacking in serious dignity? Is her mocking of the suitors 
fair? Do you like her as she is here shown? How old do you 



170 THE MERCHANT OF VENICE 

imagine her to be? How do you picture her appearance? 
How well educated is she? (66-70). Is Nerissa more serious? 
Does Nerissa 's relation to Portia seem in any way unusual for 
that of a waiting-maid? What tiresome company may have 
occasioned Portia's opening words? (1-2) What proverb sum- 
marizes her speech in lines 12-17? Is the father's plan for the 
choice of a husband a natural one? Do the customs of any 
people seriously restrict a maiden in the choice of a husband? 
Is Nerissa's defence of the plan (27-34) a strong one? In your 
own words give Portia's reason for disliking each of the suitors 
except Bassanio. Which of the suitors is most disliked? Does 
this reflect on the nation he represents? What does she mean 
when she says: "I had rather be married to a death's head" 
(48); "God made him and therefore let him pass for a man" 
(54); "If I should marry him, I should marry twenty husbands" 
(60-61); "I will do anything, Nerissa, ere I will be married to a 
sponge" (97-98)? 

Explain the following: 43. County Palatine. 57. the weeping 
philosopher. 59. throttle. 72. suited; doublet; round hose; 
bonnet. 105. Sibylla. 

Memorize lines 1-2; 12-17; 54. 



Lesson 10 
Act I. Scene 3. 

At this point begins our study of Shylock's character. Read 
the speeches in lines 33-38 and 40-51; then read the Intro- 
duction, p. 26. Try to decide whether Shylock's feeling is 
thirst for personal revenge or suffering for the wrongs of his 
race. In connection with lines 43-44 read the Introduction, 
p. 22. Read the speeches in lines 40-51 and 101-132; then 
consider the reasonable and the unreasonable causes for Shy- 
lock's hatred of Antonio. Do lines 57-59 show any good quality 
in Shylock? What attitude and manner does Antonio display in 
this scene? Do lines 125-126 seem consistent with Antonio's 
character as we have seen it in Act I? Discuss the probability of 
the agreement in lines 143-146 being made. Why is Bassanio so 
much more distrustful of Shylock's bond than is Antonio? (146- 
150) Upon what does Antonio base his assurance? (151-155) Is 
Shylock's argument (156-165) convincing? Was Bassanio 



A STUDY OF THE PLAY 171 

fully won over to favor the bond? (175) Do you believe An- 
tonio was fully won over? (176-177) What is now your feeling 
toward Shylpck? Is he eager to torture Antonio? Show how 
shrewdly he has won his way. 

Explain the following: 1. Value of a ducat. 12. a good man. 
17. in supposition. 18. Tripolis; location. 20. the Rialto. 
46. catch him upon the hip. 107. gaberdine. 136. doit. 

Memorize line 94. 

Lesson 11 
Act II. Scene 1 and Scene 2. Lines 1-32. 

(1) Scene 1. Why does Morocco make the statement in 
line 1? Read Morocco's two speeches (1-12; 22-38) and notice 
whether he devotes the time to self-praise or to praise of Portia. 
How would this affect his cause as a suitor? How much does 
Portia seem to favor him? Is she sincerely complimenting him? 
What quality in Morocco is shown in lines 30-31? Why should 
the requirement in lines 38-42 have been made in the father's 
will? Why do they go to the temple? (44). 

Explain the following : 17. scanted. 24. scimitar. 25. Sophy. 
32. Hercules and Lichas. 35. Alcides. 

(2) Scene 2. Lines 1-32. Notice the contrast between the 
types of character here introduced and those in the previous 
scenes. Is anything gained by picturing such a variety of char- 
acters? Have you heard of any ways in which Launcelot, as 
the part is acted on the stage, represents Conscience and the 
Fiend? What is the meaning of via? (11) What opinion does 
Launcelot express regarding his father's honesty? (15-17). 
What finally brings him to a decision regarding running away? 

Write these 32 lines as a play in one act and one scene, giving 
your play a title, indicating the dramatic personae and the 
setting, and properly writing out the individual speeches. 

Lesson 12 
Act II. Scene 2. Lines 33-end. 

Is Launcelot wilfully disrespectful to his aged father? (37) 
Is he an ignorant boy? (60-65; 163-164) In what sense does 
he use the word father in line 61? Explain the joke in lines 



172 THE MERCHANT OF VENICE 

56-57; also that in lines 77-78. What Bible incident in the 
life of Jacob does line 79 remind you of? What gives Gobbo 
the first inkling that this youth may be his son? How does 
Launcelot fool his father so that the father thinks him changed? 
(94-96) Compare Launcelot's opinion of Shylock (24, 106, 
150-152) with that he has of Bassanio. (110-111) Do you 
sympathize with his feeling toward them? Why does Launcelot 
say he would run so far? (Ill) Launcelot and Gobbo stand 
back to back in that part of the scene beginning line 114, and 
they swing about as they speak. What does Launcelot mean 
in line 134 by frutifyf What leads Bassanio to say what he 
does in line 142? What does Gobbo mean in line 144 by defect? 
Explain why this might be called a malapropism. What do 
lines 194-195 show as to the table manners of men in Shakes- 
peare's time? Does Bassanio think Gratiano will be true to 
his promise to avoid garrulousness? (199). 

Explain the following: 36-37. sand-blind; gravel-blind. 45. 
God's sonties. 63. the Sisters Three. 104. set up my rest. 
131. cater-cousins. 162. simple line of life. 



Lesson 13 
Act II. Scene 3-4. 

(1) Scene 3. How do you learn from the text who Jessica is? 
What do you imagine to be her age? Find in the scene all the 
evidences as to the nature of the home life of Shylock and 
Jessica. From the picture of Launcelot in the previous scene 
can you imagine why Jessica called him a "merry devil?" (2) 
Does Jessica give any good reason for her criticism of her father? 
To what one criticism does she limit herself? Does she lack 
conscience? (16-17) What do you imagine had been Shylock's 
treatment of her? Do you blame her for what, in the last lines 
of the scene, she contemplates doing? What do you think 
occasioned Launcelot's deep feeling? (10-14) Did the present 
Jessica gave him (4) have anything to do with it? Explain what 
he means by saying: "Tears exhibit my tongue." (10) How has 
this scene advanced the plot? 

(2) Scene 4. What was the masque like? (See Introduction, 
p. 23). Find the reference to this masque at the end of Scene 2. 
Why is Lorenzo so much excited over the coming masque? 



A STUDY OF THE PLAY 173 

Has Lorenzo had any previous correspondence with Jessica? 
(12) Where have we heard of Lorenzo before? What is he doing 
at this time? Where is he visiting? (Scene 3. Line 5). Does 
Launcelot get double pay as messenger? (Compare Line 18 
with Scene 3. line 4). How does the scene show the closeness 
of the friendship between Lorenzo and Gratiano? Is Lorenzo 
fair to Jessica in revealing their secrets to Gratiano? How did 
Lorenzo's closing speech help the audience of Shakespeare's 
time to grasp the meaning of the plot? 

Explain the following : 6. quaintly ordered. 10. break up this. 
23. marry. 

Lesson 14 
Act. II. Scene 5. 

Is Shylock harsh to Jessica? to Launcelot? What is his atti- 
tude toward each? What sort of attitude do they show toward 
him? What is Jessica's manner? (10) Why has Shylock dis- 
charged Launcelot? (3, 45-48) Why is he desirous that Launce- 
lot serve Bassanio? (49-50) What is Shylock's reason for accept- 
ing the invitation to Antonio's dinner? (14-15) Why has he 
changed his attitude toward Antonio as shown in Act I. Scene 3. 
Lines 33-38? Why was he invited? Why does Launcelot 
beseech him to go? (19) Why does Shylock give his keys to 
his daughter? (12) In lines 40-42 is Launcelot revealing any 
secret? Is Jessica's falsehood in line 44 excusable? Does any- 
thing in Shylock's speech beginning line 55 indicate that he did 
not trust Jessica? Explain the proverb in line 53. 

Explain the following: 18. to-night. 25. Black-Monday. 
35. foppery. 45. patch. 

Lesson 15 
Act II. Scene 6. 

This scene continues the story begun in what previous scene? 
How much later is it in the day? (34, 63) Whose house is 
referred to in line 1? Why called a "pent-house?" How does 
Gratiano 's speech (8-19) foreshadow the coming elopement? 
Paraphrase lines 14-15; 35; 36-37; 47; 49-50. Can you find 
any excuse for the theft of Shylock's jewels? Was not this 
jewelry her lawful dowry? Would she have gained it otherwise? 
Can you find any excuse for her desertion of her father? Which 
do you blame the more, — Jessica or her father? (Consult the 



174 THE MERCHANT OF VENICE 

Introduction, page 32.) Has Jessica evidenced the three char- 
acteristics given by Lorenzo in lines 53-55? What in nature 
accounts for the unexpectedly early sailing of Bassanio? (64-65) 
How does this speech of Antonio serve to turn our thoughts again 
to the main plot of the play? Why doesn't Shakespeare con- 
tinue with the details of the masque? Why is Gratiano so 
anxious to sail? (66-67) Do lines 40 and 66 suggest to your 
mind modern street lights and telephones? 

Explain the following: 5. Venus' pigeons. 7. obliged faith. 

Memorize lines 36-37. 

Lesson 16 
Act II. Scene 7. 

Look back to the end of Scene I and see if you can discover 
any reason why this scene was not placed directly after that 
scene. With what previous impression of the Prince do you 
begin the study of this scene? Picture fully the setting of this 
scene. What curtains are referred to in line 1? Would lines 
11-12 indicate that the Prince was not fully informed as to the 
conditions of the choice? In your own words explain the reason 
for Morocco's rejection of the lead casket and of the silver one, 
and for his choice of the gold one. What impression do you get 
of him from lines 32-33? Is Portia sincere in Scene I. Lines 
20-22, and in her gracious words in this scene, or in her manner 
merely affected? Does her last speech in this scene throw a 
different light on this question? What objection would she have 
to Morocco? What do you think his greatest fault? How far 
is it from Morocco to Venice? Why had he come all this way? 
How do you suppose he had learned of Portia? (38-47) What 
did the gold casket contain? Have you heard line 65 quoted 
differently? Why would there have been no need of the "scroll" 
in the right casket? (70-72). 

Explain the following: 41. The Hyrcanian deserts and the 
vasty ivilds. 51. cerecloth. 

Memorize line 65. 

Lesson 17 
Act II. Scene 8. 

What in the first speeches would lead to the conclusion that it 
is now the second day of the play? What does this scene bring 



A STUDY OF THE PLAY 175 

out regarding the escape of Jessica and Lorenzo? (6-11) regard- 
ing Shylock's feeling upon discovering this? (12-22) regarding 
the loss of a ship? (28-30) regarding Antonio's feeling toward 
Bassanio? (36-50) What troubles Shylock most? (12-22) 
Do you feel any sympathy for him? Compare 23-24 and 
2 Kings: ii. 23-24. Are children of to-day any different? Why, 
upon hearing of Jessica's escape, did Shylock run down to the 
wharf? (4-5) Why did the duke join him? Had Shylock sus- 
picion of Antonio? Are we expected to conclude that the ship 
that is reported lost is Antonio's? Does the scene lessen our 
regard for Shylock? Does it heighten our regard for Antonio? 
How do you think a Shakespearean audience would receive the 
scene? 

Explain the following: 28. the narrow seas. 48. sensible. 



Lesson 18 
Act II. Scene 9. 

Whence came the Prince of Arragon? What are the three 
conditions governing the choice of the caskets? (10-15) Which 
of them have been mentioned before? Where? Why is the 
first condition necessary in the dramatic unfolding of the play? 
Would a suitor's acceptance of these conditions seem to you 
probable? Why do you suppose they had been made so severe? 
Is this scene in any way a repetition of that in which Morocco 
makes his choice? Point out the innovations. Explain the 
reason for Arragon's rejection of the two caskets. What char- 
acteristic is prominently displayed in his remarks about the gold 
casket? Compare him with Arragon in sincerity, in his feeling 
toward Portia, in intellect, in pride, in his regard for outward 
appearances, and in the way he takes defeat. Why does he 
choose the silver casket? Do you think of Portia as knowing 
the contents of the caskets? Would line 52 indicate a previous 
knowledge of the contents? How does the motto on the silver 
casket apply to this particular casket? From the way she ad- 
dresses her servant (84) what mood should you judge Portia is 
in? Can you find other evidence of this mood? Would you 
know from the servant's words (85-93) who is approaching? 
How does the closing line of the scene prepare us for what is to 
follow? Do we know which casket he is to choose? Should 



176 THE MERCHANT OF VENICE 






more than three choices have been shown on the stage? More 
than two? Has Nerissa any reason for showing such a keen 
interest in Bassanio's fortune? 

Explain the following : 3. election. 26. fond eye. 27. martlet. 
28. in the weather. 29. casualty. (compare with the use to-day 
in war reports) 31. jump. 54. schedule. 

Lesson 19 
Act III. Scene 1. 

Find in Act I. Scene 3 the same words that are used here in 
line 1. Is there evidence that this occurs at a later time than 
were the previous scenes? Do lines 8-9 remind you of any 
habits you have known old people to have? Explain the figure 
of speech in lines 11-12. Explain the jest in lines 38-41. In 
what senses does Shylock use the word prodigal in speaking of 
Antonio? (44) In the speech beginning line 52 how many times 
does Shylock use the word "revenge?" Read in the Introduc- 
tion (page 26) the interpretation of Shylock 's character and 
then study this speech to find his motive in so vehement a de- 
nunciation of Antonio. What would be the difference in our 
interpretation of the speech if we tried to view it in the light of 
Shakespeare's time? What do we learn of the extent and 
character of Shylock's business? (54-56) Why does Antonio 
wish to see Salanio and Salarino? (74) Would the speech be- 
ginning line 83 indicate that Shylock has no love for Jessica, or is 
money the sole object of his affection? Or is it her disloyalty to 
her race that is in the background of his mind? What is his 
reason for prizing the turquoise? (1 21 ) Can you find any pathos 
in the speech? Evidently Tubal has been where? (108) Recall 
the rumors we have had of the loss of ships that are now con- 
firmed by Tubal's news. (100, 104) Notice the alternation of 
good and bad news reported by Tubal. Is Tubal serious or 
is he just playing with Shylock's feelings by this alternation? 
If serious, is he skilfully leading up to a climax? .What is the 
climax? "Bespeak the officer a fortnight before" what? (126) 
How does Shylock's appointment to go to the synagogue affect 
our opinion of him? 

Explain the following: 4. Locate the Goodwins. 9. knapped 
ginger. 45. smug. 121, Value of the turquoise to one in 
Shakespeare's time. 



A STUDY OF THE PLAY 111 

Lesson 20 

Act III. Scene 2. Lines 1-148. 

What effect do the expressions of love between Portia and 
Bassanio have on the interest in the coming choice of a casket? 
Has the knowledge of the previous choices lessened the interest 
the audience feels in this third choice? Can you find any evi- 
dences of Portia's playful nature? Find the line in which she 
tells Bassanio that she knows which is the right casket. Also 
the lines in which she expresses confidence that Bassanio will 
make the right choice. Does Portia's desire that Bassanio 
delay indicate any fears that he may choose wrongly? Why is 
Bassanio so anxious to make the choice at once? Show how the 
song (63-72) is intended to hint to Bassanio what casket he 
should choose. Have the other suitors been given any assist- 
ance? In giving this aid is Portia untrue to her father? Would 
the other suitors have been influenced by this song? What 
effect do Bassanio 's words show that it had on him? Can you 
apply his sermon (73-107) to our life of to-day? How has 
Shakespeare changed the form in lines 108-114 to show Portia's 
emotion? Does the sight of Portia's portrait (115) assure 
Bassanio that he has chosen the right casket? 

Explain the following: 22. peize the time. 55-57. Story of 
Alcides. 63. fancy. 81. simple. 99. Indian beauty. 102. 
hard food for Midas. 115. counterfeit. 130. continent. 

Memorize lines 81-82. 



Lesson 21 

Act III. Scene 2. Lines 149-end. 

Find in Portia's speech (149-174) the evidences of her 
humility; of her submissiveness to Bassanio. Would the refer- 
ence to her knowledge of languages in Act I. Scene 2. Line 68 
seem consistent with what she says here in line 159? What 
evidence of learning does she later show in the court scene of 
Act IV? What is the condition on which the ring is given? 
(171-174) the vow with which it is accepted? (183-185) What 
is there in Gratiano's speech (197-209) that explains the keen 
interest Nerissa had shown in Bassanio 's fate? (Act II. Scene 



178 THE MERCHANT OF VENICE 

9. Line 100) Why had Nerissa kept it secret from Portia? 
Contrast Gratiano's reception of Jessica and Lorenzo (214) with 
Portia's. (220) How chance they to be here? (221-225) Had 
Salerio any purpose in urging them to join him? (227-228; 
280-286) Was it a necessary part of Shakespeare's plan, to have 
these characters in some way brought together? What has 
occupied Portia's attention so that she overlooks her duty as 
hostess? (233) How is her loyalty to Bassanio shown in her 
attitude during Bassanio 's reading of the letter? (239-246) 
Why is Bassanio so seriously disconcerted now? (248-259) 
Locate the countries mentioned in lines 264-265. Is Jessica's 
testimony as to her father's determination (280-286) to have 
revenge so tainted by prejudice as to be unreliable? What do 
you now believe to be Shylock's motive? Does Portia really 
regard the debt as a trifle? (295) Why haven't Antonio's friends 
supplied him the money? In what humorous sense did Portia 
speak in lines 309? Why must it not be taken literally? What 
favorable impression has this scene given us of Portia? of Bassa- 
nio? of Antonio? What unfavorable impression of Jessica? of 
Gratiano? 

Explain the following: 200. intermission. 232. estate. 237. we 
are the Jasons. 263. hit. 267. merchant-marring rocks. 269. 
discharge. 308. cheer. 



Lesson 22 
Act III. Scene 3-5. 
Scene 3. 

Granting that the Elizabethan stage had no scenery, how 
would the audience know that this scene was a street in Venice? 
What personal grievance has Shylock against Antonio? (2, 6) 
Why has Antonio thus loaned money? (22-24) Why has he little 
hope of a favorable outcome of the trial? (27-31) Why does 
Antonio especially desire to see Bassanio? (35-36) What has 
the scene shown us regarding Antonio's situation? his courtesy? 
his mental condition? his attitude toward Bassanio? toward 
Shylock? How does the scene prepare us for the coming court 
scene? 

Explain the following: 9. fond. 32. bated. 



A STUDY OF THE PLAY 179 

Scene 4. 

Is Portia right in her statement regarding the effects of inti- 
mate friendship? (11-15) Has she worried about her expenditure 
of money? (19-21) Would Lorenzo seem to you a trustworthy 
guardian of Portia's property (24-26)? Has Portia any excuse for 
telling a falsehood about her plans? (26-32) Have her plans 
been fully made? (76-81) Does line 51 give too broad a hint of 
her plot? Why does Shakespeare have Jessica and Lorenzo leave 
the stage when they do? (44) For what was Padua (49) noted? 
(See Introduction, p. 20). Can you tell anything 'of its asso- 
ciation with the World War? Why doesn't Portia now fully 
inform Nerissa about her plans? (60-82) Is she confident of the 
success of her plans? W^hat impression do you get of Portia's 
ideas regarding men's manners? (62-76) Does she later display 
these manners she now describes? Cain you tell of any situation 
in other Shakespeare plays where women dress as men? 

Explain the following: 2. conceit. 7. lover. 25. husbandry. 
50. cousin. 65. braver. 69. quaint. 

Scene 5. 

Is this scene introduced merely to indicate a lapse of time 
while Portia is traveling, or to quiet the minds of the audience 
prior to a tense dramatic scene, or does it add materially to the 
facts needed in the plot development? About what have 
Launcelot and Jessica been talking when the scene opens? Is 
your sympathy with Launcelot in his criticism of her? Does this 
scene confirm any previous opinion you may have formed of 
Jessica? What is her attitude toward her father? toward her 
race? Explain Launcelot 's joke in line 30. What is Jessica's 
opinion of Portia? (55-65) Is Lorenzo displeased at this praise 
of Portia? or is he speaking humorously (65-66). 

Explain the following: 4. agitation. 14. rasher. 



Lesson 23 
Act IV. Scene 1. Lines 1-117. 

Up to this point in the play everything has pointed in what 
direction as concerns the fate of Antonio? Try to picture the 
scene in the court, arranging the position of each character. 



180 THE MERCHANT OF VENICE 

Read in the Introduction (p. 23) about the Venetian Duke. How 
do you imagine the Duke would have settled the case if Portia 
had not taken it up? (3-10) What influence had Shylock and 
others brought to bear? (35-37; also Act III. Scene 2. Lines 
273-279) What does the Duke think of the sincerity of Shy- 
lock's display of cruelty? (17-21) Does it seem in keeping with 
the dignity and justice of court procedure for the Duke to 
express an opinion of the plaintiff before the trial opens? (3-6) 
How must this statement have affected Antonio? What effect did 
his pleading with Shylock (17-34) have upon Shylock? Does 
Shylock give any reason for his cruel determination (35-61)? 
What have we previously decided to be the motive for this 
strong feeling? With whom, at this time, is your sympathy? 
Find all the instances in which Shylock emphasizes the law. Is 
this emphasis due to Shylock 's inability to recognize the higher 
law of mercy? Is there any difference between the tone of 
Bassanio's and Antonio's speeches to Shylock? (62-82) Is 
Bassanio lacking in mercy? Consider the force of each of 
Antonio's allusions to nature. (70-76) Would Shylock's answer 
to Bassanio's money offer (83-86) indicate that he would give 
no consideration to money? What does he say to show that he 
feels his action is absolutely right? (88-102) The Duke's words 
(103-106) are meant to prepare us for what later situation? 
What possible hope has Bassanio in his mind that leads him to 
say what he does in lines 110-112? Explain Antonio's language 
in lines 112-114. 

Explain the following : 26. moiety. 32. Tartars. 

Memorize lines 113-U4a. 



Lesson 24 

Act IV. Scene 1. Lines 118-302. 

How would the way in which women's parts were taken on 
the Shakespearean stage assist in the disguise used by Nerissa 
and Portia? What other reasons would there be why even the 
Duke would not suspect them of being disguised? Explain the 
play on words in line 122. Compare Gratiano's language in 
addressing Shylock with that of Bassanio and Antonio, as con- 
sidered in the last lesson. (125, 127-137) Is Shylock's Ian- 



A STUDY OF THE PLAY 181 

guage in reply in any way different in tone from that he used to 
the others? Is Bellario's letter truthful? What must have 
been the feeling of Antonio and of Shy lock at Portia's first 
statement? (175-178) Paraphrase the "quality of mercy" 
speech. (182-203) What purpose do you think Portia had in 
her plea for mercy? Did she hope it would be effective with 
Shylock? What was its effect on him? Did the principle under- 
lying the speech apply equally well to Shylock 's assailants? Is 
Shylock 's tone in his answer to Portia different from that he 
showed toward Gratiano, Bassanio, and Antonio? What is 
Portia's second point of approach? (206) Does she hope this will 
be effective? or is she simply planning her case so as to prevent 
Shylock from later claiming any money payment? or is she 
aiming to seemingly establish one more point in Shylock 's 
favor? Can you see any humor in the situation when Bassanio, 
in the presence of Portia, makes the money offer? Why does 
Shylock call Portia a "Daniel come to judgement"? (221) How 
do you picture Portia's manner as she speaks in line 222? Has 
the bond originally allowed a "pound of flesh nearest the mer- 
chant's heart"? (See Act I. Scene 3. Lines 145-146) How 
do Portia's dramatic orders (243, 250, 253, 255) add to the tense- 
ness of the scene? Granted that a surgeon could do nothing 
to save Antonio, what test of Shylock is Portia making in 
requiring him to have one present? (255-256) Can you find 
any humor in the situation presented by the speeches in lines 
280-292? Has Shakespeare a purpose in introducing such a 
situation at this moment of extreme tenseness? Is Portia im- 
patient or is she simply getting a lot of fun out of the situation? 
What do you think is Nerissa's feeling? How does Shylock 
moralize on the situation? (293-296) Does it give us any light 
on his real attitude toward his daughter? Try to express what 
you think is now the feeling in the mind of each of the leading 
characters. 

Explain the following: 130-131. What was Pythagoras' doc- 
trine? 169. difference. 182. strain'd. 195. seasons. 206. dis- 
charge. 255. on your charge. 294. stock of Barrabas. 

Memorize lines 182-200a. 



182 THE MERCHANT OF VENICE 

Lesson 25 
Act IV. Scene 1. Lines 303-398. 

Now comes a swift turn in affairs. Shylock has repeatedly laid 
emphasis upon "the law". Look back to find all the instances 
of this. Now Portia, using the very same weapon Shylock has 
wielded, insistence on the exact interpretation of the law, turns 
the tables. She brings forward three legal points: (1) lines 
303-310, (2) 323-330, (3) 345-354. The first two are often criti- 
cized as mere quibbles. How do they fail to conform to the spirit 
of the contract that has been made in the bond? The third is 
above criticism. Would this alone have sufficed to win the case? 
Might the first two have been purposely introduced by Portia to 
match Shylock's absurd insistence on the minute details of the 
law? What prevents Shylock from immediately replying to 
Portia? Imagine Gratiano's manner and voice in his mocking 
taunts (311, 315, 321). Does his mockery arouse your sympathy 
with Shylock? Is Portia merciless in her demands, or is she 
imitating Shylock's insistence on the law, or is she aiming to get 
Shylock into a mood of penitence? Is Shylock to be blamed for 
the demands he makes for his money (316, 334, 340) when he has 
struggled so hard all his life to gain it? How do you feel toward 
Gratiano after his speeches of lines 362-365, 377, 396-398? 
How does the Duke show his generous spirit? (366-370) Does 
Shylock's speech in lines 372-375 further arouse your pity? Is 
Antonio fair in his three demands of Shylock? (378-388) Is 
Shylock's statement "I am content" (392) said submissively, or 
is he simply exhausted? Is there any ray of hope left him? Do 
you suppose he is really sick? (394) Could Nerissa have drawn 
up a deed? (392) Have "deeds of mercy" (200) been rendered 
to Shylock? 

Lesson 26 
Act IV. Scene 1. Lines 399-end; Act IV. Scene 2. 

Scene 1. Lines 399-end. 

It is held by many that the play should come to a conclusion 
at this point, since in their opinion the main plot has now ended. 
What would you call the main plot? From what you know of 
the story as it goes on, can you give any reason to justify this 



A STUDY OF THE PLAY 183 

continuance? Is there any plot that is not yet complete? 
Could Portia, as a stranger, be expected to have enough interest 
in Antonio to refuse to accept pay for her services? (413-418) 
How would the acceptance of money have affected her later 
requests? What different meaning has line 417 to Portia 
than it would have to Antonio and Bassanio? Can you blame 
Bassanio for his words in lines 428-429? Does he justify 
himself by his later words (432-435) or is this a weak ex- 
cuse? What must Portia's thoughts have been? Was it not 
unfair for Portia to press Bassanio so hard, or is she simply 
enjoying a huge joke? What do later facts reveal her motive 
to have been? 

Explain the following: 410. cope. 412. explain the line. 
419. attempt. 443. mad. 

Scene 2. 

What is the deed? (1) Why will it be welcome to Lorenzo? 
(4) Why does she wish Gratiano to show Nerissa the way to 
Shylock's house? (11) What is the mood of Portia and Nerissa 
in this scene? Does this short scene add anything to the plot? 
Why was it not inserted in Scene 1? What do you imagine as 
happening after the scene ends? 

Explain the following: 6. upon more advice. 



Lesson 27' 
Act V. Scene 1. Lines 1-88. 

See if you can find lines that tell us the time and place of this 
scene. What advantages would a modern theatre have in pic- 
turing the scene? Are there any word pictures that satisfy us 
in the absence of scenery? Does the first line indicate in any 
way the mood the scene will have? How does this scene afford 
relief from the tenseness of the court scene? Where is Portia 
supposed to be? (28-32) Has she any reason for traveling at 
night? Notice the skill Shakespeare shows in leading up from 
reference to ancient love scenes to that of the present scene. 
Would you expect either Lorenzo or Jessica to be familiar with 
these classical stories? In lines 19-20 is Jessica in earnest? Is 
Lorenzo in earnest in line 22? Does this scene give you a dif- 



184 THE MERCHANT OF VENICE 

ferent impression of Lorenzo and Jessica than you have pre- 
viously had? Find the nature pictures in Lorenzo's speech 
(54-65). Is there any reason for Lorenzo's choice of Diana in 
referring to mythology? (67) What do you suppose is the 
effect of music on Jessica? (69) Do you believe Lorenzo's 
words in lines 83-88? 

Explain the following: 3-6. Story of Troilus and Cressid. 
7-9. Story of Pyramus and Thisbe. 11. Story of Aeneas and 
Dido. 14. Story of Medea. 24. footing. 39. Launcelot's use 
of these particular words. 59. patines. 60-61. the singing of 
the orbs. 62. cherubins. 64. this muddy vesture of decay. 80. 
Story of Orpheus. 87. Erebus. 



Lesson 28 

Memorize and also write a paraphrase of lines 54-64; 83-88a 
in Act V. Scene 1. 

Lesson 29 
Act V. Scene 1. Lines 89-end. 

What change in the appearance of Portia and Nerissa is now 
apparent? Can you give any illustration of Portia's proverb in 
lines 107-108? Why does Portia give such a strict order to her 
servants? (119-121) Explain Bassanio's compliment to Portia. 
(127-128) What would the cordiality with which Portia wel- 
comes Bassanio indicate as to the seriousness with which she has 
taken his surrender of the ring? (129-132) Notice Gratiano's 
manner in confessing to the surrender of the ring (145-148), and 
compare it with that shown by Bassanio. (190-196) How does 
Nerissa's meaning in what she says in lines 155-156 differ from 
Gratiano's interpretation of it in line 157? What is learned 
regarding Nerissa from Gratiano's description of the clerk? 
(159-163) What does Portia mean by saying she would be 
"mad"? (174) What is the effect of her words upon Bassanio? 
(175-176) upon the audience's interest? Does Bassanio imply 
in line 212 that he had given the ring against his own will? 
What good trait is shown by his not accusing Antonio of having 
encouraged the act? Why does Portia so speedily assure 
Antonio there is no feeling against him? (225) What must 



A STUDY OF THE PLAY 185 

have been the effect of Bassanio 's pleading (226-229) upon 
Portia's efforts to feign anger? Show how the play ends hap- 
pily for all. 

Explain the following: 109. Endymion. 127. Antipodes. 
141. breathing courtesy. 146. posy. 160. scrubbed. 195. 
virtue. 197. contain. 202. to urge the thing held as a ceremony. 
206. civil doctor. 235. wealth. 261. road. 271. charge us there 
upon inter' gatories. 



Lesson 30 

GENERAL QUESTIONS UPON THE PLAY 

Is the play a comedy or a tragedy? Why? (See Introduc- 
tion, p. 12). Briefly outline the different plots connected with 
the caskets, the bond, the rings, and the love story of Lorenzo 
and Jessica. In which character have you been most deeply 
interested? Why? Does the play end happily for all? Should 
a story or a play always end happily? Why? Can it be a 
tragedy and end happily? What does the play show that 
might be an argument for regarding Shylock as unworthy of our 
sympathy? (II. 3. 1-2; III. 1. 52. etc; III. 1. 87. etc; IV. 1. 
4-5; 127). As deserving our pity? (II. 3. 20-21; II. 6. 49-50; 
III. 1. 63-72) (Read the Introduction, p. 26.) Regarding 
Portia's education see I. 2. 66-69; and IV. 1. 155. Bassanio 
gives us a description of her (I. 1. 161-172). You can find sev- 
eral illustrations of her wit, as in the ring episode and in her 
caustic comments on her different suitors. Where does she 
display her lovable qualities? her dignity? her light-heartedness? 
her religious nature? her ability as a speaker? her use of flashing 
scorn? (See Introduction, p. 27). Find in the play the dif- 
ferent explanations suggested for Antonio's sadness? What is 
your explanation? How does he show unselfishness? scorn? 
tenderness? loyalty? (See Introduction, p. 31). Show the 
sincere frankness of Bassanio in presenting his cause to Antonio; 
his lack of charity in dealing with Shylock and with Gratiano; 
his sincerity and truthfulness in the ring episode; his good sense 
as shown in the choice of caskets. (See Introduction, p. 32.) 
How was Jessica disloyal to her father? to her religion? Can 
you suggest any instances of her displaying frivolity? Had she 



186 THE MERCHANT OF VENICE 

any serious nature? Was she excusable for her follies? Why? 
Would you take an intermediate ground, as does Hudson (See 
Introduction, p. 32) or have you a positive opinion either in 
sympathy with Jessica or in criticism of her? Find instances to 
justify Bassanio's saying that Gratiano talked "an infinite deal 
of nothing." What good purpose had he in so gayly talking 
on in an endless stream? What purpose did Shakespeare have 
in introducing such a character in the play? (See Introduction, 
p. 33). Why is Nerissa admirably suited to be the companion 
of Gratiano? Show instances where she displays wit; playful- 
ness; caustic scorn; a strong will; talkativeness. (See Intro- 
duction, p. 34). 



INDEX 

Including Introduction and Notes 

(Numbers indicate pages) 



A', 147 

A-capering, 141 
Accomplished, 158 
Achieved, 156 
Address 'd me, 152 
Advice, upon more, 162 
Advised, 139, 146 
Advisedly, 165 
Agitation, 158 
Alcides, 146, 154 
Alien, 161 
An, 141, 142 
Analysis of plots, 25 
Andrew, 138 
Angel, 164 
Antipodes, 165 
Antonio, character of, 31 

costume of, 36 
Apparent, 159 
Appropriation, 141 
Approve, 155 
Argosies, 137 
As a ceremony, 165 
Aspect, 145 
Attempt, 162 
Attended, 164 

Backgrounds of the play, 19 
Balance, 161 
Baned, 160 
Bargain, 156 
Barrabas, 161 
Bassanio, character of, 32 

costume of, 36 
'Bated, 157 
Beauty, 155 
Beefs, 145 
Beholding, 144 
Belmont, 20 
Bestow'd, 148 
Bid forth, 149 
Black Monday, 149 
Blank verse, 17 
Blest, 146 



Blest, twice, 161 

Bonnet, 142 

Bottom, 138 

Bounty can enforce, 157 

Brain; blood, 141 

Braver, 158 

Break his day, 145 

Break up, 149 

Breathing courtesy, 165 

Breed, 144 

Brutus' Portia, 140 

By, 141 

By my hood, 150 

Carrion death, 151 

Cater-cousins, 147 

Cato's daughter, 140 

Cerecloth, 151 

Ceremony, 165 

Chapels; churches, 141 

Character Portrayal, 14 

Characters, comments, on, 26 

Charge, on your, 161 

Charter, 160 

Cheer, 157, 158 

Cherubins, 164 

Childhood proof, 139 

Chronological arrangement of 

plays, 8 
Chus, 157 
Circumstance, 139 
Civil doctor, 165 
Climax of a play, 14 
Close, 150 
Close it in, 164 
Colchos, 140 
Comedy, 12 
Commandment, 162 
Commends, 152 
Comments on characters, 26 
Commodity, 140, 157 
Complexion, 145, 153 
Compromised, 144 
Conceit, 138, 157, 158 
187 



188 



INDEX 



Condition, 142 
Condition'd, 157 
Confiscate, 161 
Confound, 156 
Confusions, 147 
Constant, 156 
Contain, 165 
Contemplation, 157 
Continent, 156 
Contrary, 142 
Contrive, 161 
Convenient, 158 
Conveniently, 152 
Cope, 162 
Costumes, stage, 34 
Counterfeit, 156 
County Palatine, 141 
Courtesy, breathing, 165 
Cousin, 50 
Cover, 158 
Cozen, 152 

Cream and mantle, 138 
Cressida, 163 
Crisped, 155 
Crosses, holv, 163 
Danger, 160 
Daniel, 161 
Dardanian wives, 155 
Date of the play, 15 
Defect, 147 
Denouement, 14 
Deny, 157 
Description, 157 
Determine, 160 
Devil cite scripture, 144 
Diana, wake, 164 
Dido, 163 
Difference, 160 
Disabling, 151 
Discharge, 156, 161 
Discretion, 158 
Disguise, 148 
Do withal, 158 
Doctor, civil, 165 
Doit, 144 
Double, 165 
Doublet, 142 
Dress, the Italian, 21 



Ducat, 142 

Duke, the Italian, 23 

Dulcet sounds, 154 

Dwell, 145 

Ean lings, 144 

Embraced sadness, 152 

Empty from, 159 

Endymion, 165 

Enforce, bounty can, 157 

Enforced, 165 

Enow, 158 

Entertain, 138 

Envious, 157 

Envy, 159 

Equal, 145 

Erebus, 164 

Ergo, 147 

Estates, 152, 156 

Estimation, 161 

Exceeding, 67 

Excess, 143 

Exchange, 150 

Exhibit, 148 

Excrement, 155 

Exposition of play, 13 

Eye, 139 

Fair, speak me, 161 

Fairly, 156 

Faithless, 149 

Fall, 144 

Falsehood, 144 

Fancy, 155 

Father, 147 

Fawning publican, 143 

Fear'd 145, 

Fearful, 145 

Fill-horse, 147 

Fill up, 160 

Fire, 152 

Flight, 139 

Flood, main, 160 

Flourish, 154 

Follow, 161 

Fond, 152, 157 

Fool, 138 

Fool gudgeon, 139 

For, 143 

Force, of, 162 



INDEX 



189 



Forth, 137, 139, 149 

Fortune, 152 

Four strangers, 142 

Fraught, 151 

Fretten, 160 

Frutify, 147 

Full relation, 161 

Gaberdine, 144 

Garnish'd, 158 

Gaping pig, 160 

Gaged, 139 

Gear, 139, 148 

Gentle, 150 

Glisters, 151 

Golden fleece, 140 

Gondola, 151 

Good, 143 

Goodwins, 153 

Grammercy, 147 

Grant continuance, 139 

Gratiano, character of, 33 

Gratify, 162 

Gross a material, 151 

Guarded, 148 

Guiled, 155 

Habit, 148 

Had rather, 141 

Hagar's offspring, 150 

Hangman, 160 

Heart cool, 21, 138 

Heraclitus, 141 

Hercules, 146 

High-day wit, 153 

Him, 156 

Hip, have thee on, 161 

upon the, 143 
His, 139, 155, 164 
Hit, 1 56 

Hold day with Antipodes, 165 
Holy crosses, 163 
Hood, by my, 150 
Hood mine eyes, 148 
Hovel-post, 147 
How to understand a play, 

12 
Humbleness, 162 
Humility, 153 
Humor, 160 



Humour, 22 

Husbandry, 157 

Hyrcanian, 151 

Ideas of medicine, 21 

Imagined speed, 158 

Impeach freedom of state, 1 56 

Impediment to let him lack, 160 

Impertinent, 147 

Imposition, 142, 157 

In all sense, 165 

In supposition, 143 

In the weather, 152 

In use, 162 

Incarnal, 146 

Indian beauty, 155 

Indies, 143 

Indirectly, 147 

Infection, 147 

Insculp'd upon, 151 

Interest, laws regarding, 22, 143 

meaning, 143 
Inter'gatories, 166 
Intermission, 156 
Italian dress, 21 

duke, 23 

setting, 20 
Jacks, 158 
Jacob, 144 
Jacob's staff, 149 
Janus, 138 
Jason, 140 
Jaundice, 22, 138 
Jessica, character of, 32 

costume of, 36 
Jewess' eye, 149 
Jews, attitude toward, 19 
Judgement, 160 
Jump with, 152 
Just, 161 
Kept, 157 
Key, 151 
Knapped, 153 
Knave, 145 

Laws regarding Interest, 22 
Level at, 141 
Liberal, 148 
Lichas, 146 
Life of Shakespeare, 7 



190 



INDEX 



Lightest, 155 

Like, 151 

Line of life, 148 

Liver, 21, 138, 155 

Livings, 156, 165 

Lodged, 160 

Loose, 159 

Lord Love, 153 

Love, 145, 161 

Lover, 157 

Make moan, 139, 157 

Making question, 139 

Magnificoes, 156 

Main flood, 160 

Manage, 157 

Manna, 166 

Mark, God bless the, 146 

Marriage, 152 

Marry, 147 

Mart, 153 

Martlet, 152 

Masques, 23 

Match, 153 

Matched, 153 

Medea, 163 

Medicine, ideas of, 21 

Merchant, royal, 159 

Mere, 156 

Metre, general laws of, 16 

of this play, 17 
Midas, 155 
Mind of love, 151 
Moan, made, 157 

to be abridged, 139 
Modesty, 148 
Moe, 139 
Moiety, 159 
Moneys, 144 
More elder, 161 
Much much, 155 
Music, 164 
Must, 160 
Mutton, 145 
Mutual, 164 
Mystery of a play, 14 
Narrow seas, 151 
Naughty, 154, 157, 164 
Nazarite, 143 



Needs, 149 

Ncrissa, character of, 34 
costume of, 36 

Nestor, 138 

Nice, 145 

Nominated for, 145 

Nor— none, 141 

Nothing undervalued, 140 

Obdurate, 159 

Obliged, 150 

Obscure, 151 

Ocean, 137 

O'erlooked, 154 

Of, 143 

Of force, 162 

Office of discovery, 150 

Old swearing, 162 

On't, 150 

On your charge, 161 

Opinion, 138 

Or— or, 139 

Oracle, Sir, 139 

Ordered, 149 

Orpheus, 164 

Other, 138 

Over-weathered, 150 

Pack, 146 

Padua, 20, 158 

Pageants, 137 

Pain, 148 

Palatine, Countv, 141 

Parcel, 142 

Part, 151 

Parts, 160 

Passion, a, 151 

Patch, 150 

Patines, 164 

Pawn'd, 159 

Peize, 154 

Pent-house, 150 

Persuaded with, 157 

Pied, 144 

Pig, gaping, 160 

Pilled, 144 

Play the fool, 138 

Plays, chronological arrange- 
ment of, 8 

Pleasure, 143 



INDEX 



191 



Plots, analysis of, 25 
Portia, character of 27 

costume of 35 
Possess 'd, .144 
Post, 153 
Posy, 165 
Power, 160 
Preferred, 148 . 
Presages, 140 
Presence, 154 
Presently, 162 
Prest, 140 
Prevented, 138 
Prize, in a, 156 
Prodigal, 153 

Producing holy witness, 144 
Prologue of a play, 12 
Proper, 142, 154 
Prose, use of, 17 
Provided of, 149 
Publican, 143. . 
Pursue, 161 
Pyramus, 163 
Pythagoras, 160 
Quaint, 158 
Quaintly ordered, 149 
Qualify, 159 

Quarrelling with occasion, 158 
Question, 139, 160, 161 
Rack, 154 
Racked, 140 
Rain, 155 
Raw, 158 
Reason'd, 151 
Relation, full, 161 
Remorse, 159 
Repent, 161 
Reproach, 149 
Respect upon, 138 
Respect, without, 164 
Respective, 165 
Rest you fair, 143 
Rhenish, 153 
Rhyme, use of, 17 
Rialto, the, 143 
Rib, 151 
Richly left, 140 
Ripe wants, 144 



Riping, 151 

Roads, 138, 165 

Round hose, 142 

Royal merchants, 159 

Ruin, 152 

Salanio, Salarino, 156 

Sand-blind, 147 

Satisfied of, 166 

Say, 160 

Scanted, 145 

Scarfed, 150 

Scenery, 11 

Schedule, 152 

Scrubbed, 165 

Sealed under, 142 

Season, 155, 161 

Second head, 155 

Self, 139 

Sense, in all, 165 

Sensible, 152 

Sensible regreets, 152 

Set up my rest, 147 

Setting, the Italian, 20 

Shakespeare, life of, 7 

Shall, 139 

Shrewd, 156 

Shrive, 142 

Shylock, character of, 26 

costume of, 34 
Sibylla, 142 
Simple, 155 
Single bond, 144 
Sir Oracle, 139 
Sisters Three, 147 
Skipping, 148 
Slubber, 151 
Smug, 153 
So, 156, 161 
Sola, 163 
Something, 139 . 
Sometimes, 140 
Sonties, 147 
Sooth, 137 
Sophy, 146 
Sort, 142 
Sort all, 165 
Sources of the plot, 15 
Speak me fair, 161 



192 



INDEX 



Sped, 152 

Squandered, 143 

Stage in Shakespeare's time, 10 

Stage costumes, 34 

Stead, 142 

Stephano, 163 

Still, 137, 139, 155, 161 

Stomach, 159 

Stood, 145 

Strain'd, 161 

Strange, 138 

Struggle of play, 14 

Study of the play, 167 

Substance, 161 

Suited, 142, 158 

Sultan Solyman, 146 

Supposed fairness, 155 

Supposition, 143 

Surety, 142 

Swan-like end, 154 

Swearing, old, 162 

Swelling port, 139 

Synagogue, 153 

Table, 148 

Teaches, 145 

Temple, the 146 

Ten more, 162 

Theatre in Shakespeare's time, 

10 
Think you question, 160 
Thisbe, 163 
Thought, 138, 145 
Thrift, 140 
Throstle, 141 
Throughfares, 151 
Throughly, 160 
Title of Play, 13 
To-night, 142, 149 
Too-too light, 150 
Torch-bearers, 149 
Towards my rest, 149 
Traffickers, 137 
Tragedy, denned, 12 
Traject, 158 
Tripolis, 143 
Troilus, 163 
Troth, 140 
Trust, 140 



Truth, 161 
Tubal, 143 
Tucket, 165 
Turquoise, 22, 153 
Twice blest, 161 
Tyranny, 159 
Unchecked, 153 
Unfurnished, 156 
Unities, 13 
Untread again, 150 
Upon the hip, 143 
Upon more advice, 162 
Upon supposed fairness, 155 
Upon the rack, 154 
Usance, 143 
Use, in, 162 

still her, 161 
Vailing, 138 

Vantage to exclaim, 156 
Varnish'd, 149 
Vasty, 151 

Veiling an Indian beauty, 155 
Venice in Shakespeare's day, 20 
Venus' pigeons, 150 
Very friends, 21 9 
Via, 146 
Virtue, 165 
Waft, 163 
Wake Diana, 164 
Wanted, 165 
Waste, 157 
Wealth, 165 
Weather, in the, 152 
Weeping philosopher, 141 
What, 149 
Where, 159 
Which, 161 
Whiles, 142 
Who, 150 
Will, 141 
Willow, 163 

Wings she flew withal, 153 
Wis, 152 
Wit, 145, 153 
Without respect, 1 64 
Wroth, 152 
Wry-necked fife, 149 
Younker, 150 



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